Esta pesquisa consiste num estudo de versões em português feitas por Chico Buarque para canções dos dois mais destacados compositores da Nova Trova Cubana. São analisadas em detalhe as versões feitas para três canções compostas por Pablo Milanés, que posteriormente são comparadas com suas versões para duas composições de Silvio Rodríguez. A pesquisa se insere em duas das perspectivas dos Estudos Descritivos da Tradução (HOLMES, 2000): estudos de produto (análise das versões das letras para serem cantadas) e estudos de função (os contextos gerais em que se inserem essas versões). O corpus do trabalho totaliza cinco canções vertidas, gravadas por diferentes intérpretes em diferentes contextos, cujos textos-fonte são: 1) Canción [De qué calada manera] (um poema do cubano Nicolas Guillén musicalizado), 2) Todos los ojos te miran, 3) Yolanda - composições de Pablo Milanés 4) Supón e 5) Imagínate as duas últimas, compostas por Silvio Rodríguez. A versão de Canción [De qué calada manera] está no álbum Chico Buarque (1984) com o título Como se fosse a primavera [Canción]. \"Iolanda\", a versão de Yolanda, faz parte do álbum Chico Buarque - Duetos (2002) e anteriormente compôs o repertório de Simone em dueto com Chico no álbum Desejos, de 1984. \"Todos os olhos te olham\", versão de Todos los ojos te miran foi gravada pela intérprete Simone no álbum Raio de Luz em 1991, com o título Todos os olhos te olham. Do cantor e compositor Silvio Rodríguez, Chico Buarque verteu Supón e Imagínate, ambas para serem gravadas na voz de Nara Leão no álbum Nasci para bailar, de 1982, com os títulos Supõe e Imagina só, respectivamente. O foco das análises mais detidas são as versões das canções de Pablo Milanés, sendo as versões das canções de Silvio Rodríguez comparadas com aquelas do ponto de vista dos diferentes métodos de tradução adotados por Chico Buarque. Para desenvolver o estudo, são consideradas, como ponto de partida, as diferentes finalidades da tradução de letras de canções em sua relação com diferentes métodos tradutórios, a partir de proposta de Low (2003) apoiada na teoria do Skopos (cf. Reiss e Vermeer, 1984). No caso da tradução de canção para ser cantada, em que a letra da canção compõe um texto em simbiose com a música, entendemos tratar-se de um tipo de tradução subordinada, modalidade de tradução na qual o elemento linguístico (texto) está sujeito a um elemento extralinguístico (nos casos de nosso corpus, a música) (HURTADO, 2001). Para a análise do corpus, foram combinadas duas ferramentas: 1) as modalidades de tradução de Francis Henrik Aubert (1998), que nos permitiram considerar o tratamento do texto verbal a partir de parâmetros linguísticos, possibilitando medidas da proximidade e distanciamento tradutório entre texto-fonte e texto-meta para fins comparativos; 2) o Princípio do Pentatlon proposto por Peter Low (2005), que permitiu considerar o papel dos aspectos extralinguísticos para o resultado da tradução no texto-meta. Entre nossas perguntas de pesquisa, nos propusemos considerar em que medida a tradução do espanhol para o português pode facilitar um tratamento mais literal da letra, por se tratar de um par linguisticamente próximo, e como a música e o repertório do artista podem direcionar o método de tradução escolhido, a despeito da proximidade entre as línguas envolvidas. Por fim, ao ter em conta as perguntas \"quem foram os tradutores?\", \"o que foi traduzido?\", \"por que se traduziram especificamente certas coisas?\", \"quando (em que períodos, contextos) aconteceram as traduções?\", \"quais as finalidades das traduções feitas (para quem, para quê)?\", \"como foi traduzido?\" dentre as que Lieven Dhulst propõe para historiar a tradução (MILTON; MARTINS, 2010), esta pesquisa busca contribuir, por meio de um estudo de caso, para uma história abrangente da tradução de canção popular para ser cantada, no Brasil. / This research seeks to study renditions in Portuguese written by Chico Buarque for songs originally composed by the two most important composers of the Cuban Nueva Trova. Renditions of three songs composed by Pablo Milanés are analyzed into detail and are, afterwards, compared with two renditions written for two songs by Silvio Rodríguez. The research is inserted into two perspectives within Descriptive Translation Studies (HOLMES, 2000): product oriented (analyses of renditions for the lyrics to be sung) and function oriented (general contexts in which these renditions are inserted). The corpus for this research is formed by five song renditions, recorded by different singers in different contexts, whose source texts are: 1) Canción [De qué calada manera] (a musicalized poem by Cuban writer Nicolas Guillén, 2) Todos los ojos te miran, 3) Yolanda composed by Pablo Milanés 4) Supón e 5) Imagínate these last two ones composed by Silvio Rodríguez. The rendition of Canción [De qué calada manera] is present in the album Chico Buarque (1984) as Como se fosse a primavera [Canción]. Iolanda, the rendition for Yolanda, is found in the album Chico Buarque - Duetos (2002) and had previously been part of Simones repertoire in a duet with Chico in her album Desejos, in 1984. Todos os olhos te olham, rendition for Todos los ojos te miran was recorded by singer Simone in the album Raio de Luz in 1991, with the title Todos os olhos te olham. From the songs originally written by singer and composer Silvio Rodríguez, Chico Buarque wrote renditions for Supón and Imagínate, both to be recorded by Nara Leão in her album Nasci para bailar, in 1992, with the titles Supõe and Imagina só, respectively. The most attentive focus of the analyses are directed towards the renditions for the songs composed by Pablo Milanés, being the songs written by Silvio Rodríguez compared with Milanéss ones, regarding the different translation methods utilized by Chico Buarque. This study considers the different goals for the translation of music lyrics in their relation with different translation methods, based on the proposition delineated by Low (2003) anchored in the theory of Skopos (cf Reiss e Vermeer, 1984). In the particular instance of the translation of a song to be sung, in which the lyrics form a text in symbiosis with the music, it is our contention that this is a type of subordinate translation, a modality of translation in which the linguistic element (text) is subjected to an extra-linguistic element (in the case of the corpus of this research, the music) (HURTADO, 2001). For the analysis of the corpus, two methodological tools have been combined: 1) the modalities of translation lined out by Francis Henrik Aubert (1998), which allows us to consider treating the verbal text within linguistic parameters, making proximity and distancing measures possible between source text and target text for comparative goals; 2) the Pentathlon Principle proposed by Peter Low (2005), which has allowed the consideration of the role of extralinguistic aspects in the result of the translation in the target text. Within our research questions, we have proposed to consider to what extent the translation from Spanish to Portuguese may facilitate a more literal treatment of the lyrics, since they form a linguistically close pair, and how the music and the artists repertoire may direct the method of translation chosen, despite the proximity between the languages involved. To conclude, having in mind the questions who are the translators?, what has been translated?, why have some specific things been translated?, when (in what moments, contexts) did the translations happen?, what are the purposes of the translations performed (to whom, towards what goal)?, how was it translated?, within the ones Lieven Dhulst proposes to historicize translation (MILTON; MARTINS, 2010), this research seeks to contribute, through a case study, to a broader history of the translation of popular music to be sung, in Brazil.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-29T20:24:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Investigação das interferências linguísticas e das modalidades tradutórias na tradução para o português brasileiro do conto Thent of December.pdf: 2322908 bytes, checksum: 91bdf45387ed7f94530c6ea05fe59fbf (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-30T20:26:25Z (GMT) No. of bitstreams: 2 Investigação das interferências linguísticas e das modalidades tradutórias na tradução para o português brasileiro do conto Thent of December.pdf: 2322908 bytes, checksum: 91bdf45387ed7f94530c6ea05fe59fbf (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T20:26:38Z (GMT). No. of bitstreams: 2 Investigação das interferências linguísticas e das modalidades tradutórias na tradução para o português brasileiro do conto Thent of December.pdf: 2322908 bytes, checksum: 91bdf45387ed7f94530c6ea05fe59fbf (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-23 / Sem bolsa / A teoria de Línguas em Contato foi desenvolvida a partir da investigação e da descrição de fenômenos linguísticos resultantes do contato entre idiomas em sujeitos e sociedades bi ou multilíngues. Atualmente, pesquisas relacionadas a tal abordagem abarcam diversos temas, dentre eles, a tradução. No entanto, a relação entre o contato linguístico e a atividade tradutória parece ser pouco investigada no meio acadêmico-científico. Em contrapartida, desde que a Linguística ampliou seu objeto de análise, os estudos tradutórios têm se valido do prisma dos fenômenos linguísticos, para além da investigação literária. Nesse sentido, esta dissertação pretende tecer vínculos entre a área de especialidade da Linguística Aplicada, Línguas em Contato, e o campo multidisciplinar do conhecimento, Estudos da Tradução, ambos pertencentes à grande área de Letras e Linguística. Para tanto, tem por objetivo investigar as interferências linguísticas baseadas nos fenômenos descritos por Weinreich (1970) e as modalidades de tradução propostas por Aubert (1998), contidas na tradução do conto “Tenth of December” (SAUNDERS, 2013) para o português brasileiro, realizada por José Geraldo Couto, com o título “Dez de Dezembro” (SAUNDERS, 2014). A fim de obter a quantificação total dos dados pesquisados, os sintagmas nominais do texto fonte foram selecionados e classificados de acordo com rótulos criados para cada categoria de interferências linguísticas e de modalidades de tradução presentes no texto meta. Subsequentemente, foram salvos em arquivo TXT e anotados no programa Notepad++, em um arquivo de extensão XML, o qual, combinado com a folha de estilos (XSL), permite obter a quantidade total de cada categoria, em números absolutos, em um arquivo HTML. Os resultados encontrados após a investigação do corpus apontam para a prevalência de interferências linguísticas na direção do inglês estadunidense, ou seja, os sintagmas nominais estão mais próximos da língua fonte. Com relação às modalidades de tradução, as opções adotadas indicaram um menor distanciamento do texto traduzido com relação ao texto fonte. No entanto, a pequena diferenciação, em números percentuais, entre as categorias mais próximas da língua fonte e as da língua meta, denota certa aproximação linguística, no corpus analisado, entre o português brasileiro e o inglês estadunidense. Do mesmo modo, a classificação das modalidades mais recorrentes, segundo a escala proposta por Aubert (1998), demonstra certa equivalência entre os textos fonte e meta. A partir das análises quantitativa e qualitativa de cada categoria de interferência linguística e de modalidade de tradução, foi possível tecer paralelismos entre ambas. Essa investigação permitiu relacionar a área de especialidade da Linguística Aplicada, Línguas em Contato, à área multidisciplinar do conhecimento, Estudos da Tradução. / The theory of Languages in Contact was developed from the investigation and from the description of linguistic phenomena that result from the contact between languages in bi or multilingual persons and societies. Currently, research related to this approach includes various themes, among them, translation. However, the relation between linguistic contact and translation seems to be scarcely investigated in academic and scientific fields. On the other hand, since Linguistics amplified its analysis object Translation Studies have been investigated the phenomena from the linguistic point of view in addition to the literary one. Thus, this thesis aims at linking Languages in Contact and Translation Studies, both belonging to the greatest area Linguistics and Literature. In order to do that, it aims at investigating the linguistic interferences based on the phenomena described by Weinreich (1970) and the translation modalities proposed by Aubert (1998) in the translation of the short story “Tenth of December” (SAUNDERS, 2013) to Brazilian Portuguese, done by José Geraldo Couto, “Dez de Dezembro” (SAUNDERS, 2014). In order to achieve the total amount of the investigated data noun phrases of the source text were selected and classified according to the tags created to each category of linguistic interferences and of translation modalities present in the target text. Then, the data were saved on TXT file and annotated within Notepad++ software, on a XML file. Combined with the stylesheet (XSL) the annotation of the text allows to achieve the total amount of each category, in absolute numbers, on a HTML file. Results found after the investigation of the corpus show the prevalence of linguistic interferences in North American English direction, that is, the noun phrases are nearer to the source language. Concerning the translation modalities the options selected indicate little distance between the translated text and the source text. However, the small differentiation in percentage between the categories nearer to the source language and the ones nearer to the target language demonstrates some linguistic proximity, in the analyzed corpus, between Brazilian Portuguese and North American English. Equally, classification of the translation modalities more present in the corpus, according to the scale proposed by Aubert (1998), shows some equivalence between the source text and the target text. Based on quantitative and qualitative analyses of each category of linguistic interference and of translation modality, it was possible to trace parallelisms between both of them. This investigation allows to relate Languages in Contact and Translation Studies.

[pt] Este trabalho se insere no contexto dos Estudos da Tradução contemporâneos, em consonância com as teorias pós-estruturalistas no campo dos Estudos Sociais. Adotando uma postura crítica que visa reaproximar teoria e prática, academia e mercado profissional, este estudo investiga a prática da tradução para legendas, entendida no âmbito da tradução audiovisual, a partir de uma perspectiva sistêmica e funcional. A base teórica e metodológica adotada tem como ponto de partida a Teoria dos Polissistemas e os fundamentos teóricos dos Estudos Descritivos de Tradução, os quais são aqui ampliados e adaptados de modo a incorporar o campo da tradução audiovisual. A tradução para legendas é então investigada a partir de um contexto em maior escala - no qual incluem-se as instituições, os profissionais e os procedimentos envolvidos na legendagem de materiais audiovisuais - sendo enfocadas unidades progressivamente menores: meios de veiculação, parâmetros técnicos, normas sintáticas e estilísticas. Finalmente, examinando o processo tradutório no campo da legendagem, o estudo culmina em reflexões sobre a dimensão singular do trabalho do tradutor - uma lacuna nos Estudos Descritivos da Tradução e pouco explorada nas teorias tradutórias de modo geral - e em considerações sobre a possibilidade de aliar ao paradigma descritivo pesquisas sobre a subjetividade inerente à prática tradutória. / [en] The present work was developed in the context of contemporary Translation Studies, in accordance with Post-Structuralist theories in the field of Social Studies. Adopting a critical view that attempts to reunite theory and practice, academy and industry, this study investigates the practice of subtitle translation - seen within the scope of audiovisual translation - based on a systemic and functional perspective. The theoretical and methodological bases are Polysystem Theory and the fundaments of Descriptive Translation Studies, which are here increased and adapted to comprehend the field of audiovisual translation. Subtitling is then studied from a large-scale context - including the institutions, professionals and proceedings involved in the subtitling of audiovisual materials - and focusing on progressively smaller units: media, technical parameters, syntactic and stylistic norms. Finally, by examining the process of translation in the area of subtitling, this study leads to reflections on the singular dimension of the translator s task - a gap in Descriptive Translation Studies and still little explored in translation theories in general - and to considerations on the possibility of combining the descriptive paradigm with research about the subjectivity intrinsic to translation.

Uppsatsen redogör för översättningen av en novell skriven av Stephen King. Förutsättningar för vald översättningsprincip är polysystemteori, deskriptiv översättningsvetenskap, tänkt målgrupp och resultatet av en stilanalys av källtexten där en riklig förekomst av bildspråk tydliggjordes. En analys av bildspråk i måltexten visade på en övervägande adekvansinriktad översättningsstrategi och på Stephen Kings status i målkulturen som hög snarare än låg. Problem under översättningsprocessen var främst översättningen av bildspråk. / This study deals with the translation of a short story written by Stephen King. Prerequisites for the selected translation principle were polysystem theory, descriptive translation studies, intended audience, and the result of a style analysis of the source text in which an abundance of imagery was clear. An analysis of the imagery in the target text found that a predominantly adequacy-oriented translation strategy was used and that Stephen King's status in the target culture can be viewed as high rather than low. Problems during the translation process were mainly associated with the translation of imagery.

This study investigates strategies used when translating compound nouns from German to Swedish. The source text translated and used for the analysis stems from the travel book Couchsurfing im Iran. Meine Reise hinter verschlossene Türen by Stephan Orth (2015). The focus of the study is twofold: 1) examining established compounds and 2) ad hoc compounds. The quantitative part of the analysis is based on Fleischer/Barz’ (2007) morphological classification of compound nouns and Vinay/Darbelnet’s (1995/2004) translation procedures, and also forms the basis for the qualitative analysis. The quantitative analysis shows that while nearly 60% of the established compound nouns were translated literally, quite a large number were rendered using other strategies, mainly paraphrases with nominal phrases. The translations of the ad hoc compounds showed the reverse pattern: only 36% were translated literally, while nearly 60% were translated with nominal phrases. The qualitative analysis suggests four major explanations for these shifts. The first is morphological limitation, where the Swedish language in some instances does not allow a certain word to be used as a compound modifier. The second is language preference, where a tendency towards a more verbal paraphrase in Swedish was noticed. The third is based on Toury’s law of growing standardization, which states that translations tend to be more explicit, in this case preferring longer and more transparent paraphrases to denser compounds. The fourth explanation is the lexical gap where ad hoc compounds proved to be particularly difficult to translate when one of their units did not have a direct counterpart in Swedish.

Denna uppsats ämnar göra ett nedslag i svensk teateröversättning för den svenska teaterscenen. Teateröversättning är ett relativt outforskat forskningsfält generellt, men i synnerhet råder det en avsaknad av studier som fokuserar på svenska teateröversättningar. I detta syfte har undersökningen valt att analysera William Shakespeares, Hamlet, genom att analysera ett urval av svenska Hamletuppsättningar och tillhörande metatexter återskapas de strategier och normer som översättaren inkorporerar vid nyöversättning från den engelska källtexten till den svenska måltexten. Tre spelversioner av Hamlet från produktioner i Dramatens regi åren 1974 i översättning av Allan Bergstrand, 1986 i översättning av Britt G. Hallqvist och 2008 i översättning av Ulf Peter Hallberg utgör studiens material. Vidare har en variabelanalys genomförts där variablerna strykning, textindelning, pronominalbruk och bildspråk analyserats, både på makrotextuell nivå och mikrotextuell nivå. Resultatet visar att spelversionerna skiljer sig något åt när det kommer till strategier och textuella normer. Hamlet från 1974 tenderar att vara mer adekvansinriktad medan Hamlet från 1986 och 2008 tenderar att vara mer acceptansinriktade. Studien fann även att ingen av de undersökta spelversionerna lever upp till rådande normer när det kommer till mottagande. / This thesis seeks to touch upon Swedish theatre translations produced for the Swedish stage. Theatre translation is generally an relatively unchartered field, but there is particularly a lack of studies focused on Swedish theatre translation. For this reason this thesis has chosen to analyse William Shakespeare’s Hamlet. By analysing a selection of Hamlet productions and corresponding metatexts this thesis recreates strategies and norms incorporated in a retranslation of the English source text into a Swedish target text.Three stage versions of Hamlet, all productions of Dramaten from the years 1974, translated by Allan Bergstrand, 1986, translated by Britt G. Hallqvist, and 2008, translated by Ulf Peter Hallberg, were selected for this purpose. In addition, the following variables where investigated: reduction, textual structure, pronouns and imagery. This analysis was conducted both on a macro texual level and a micro textual level. The study shows that the stage version of Hamlet 1974 tends to be more adequate while the stage versions from 1986 and 2008 tend to be more acceptable when it comes to strategies. The thesis also found that none of the investigated stage versions fulfilled the expectancy norms of the audience.

This masters thesis consists of a translation of acts I-IV from Dion Boucicault’s play London Assurance, a theoretical comment on the translation and a comparative study of asides. It is divided into four parts: an introduction, presenting the work and my translation strategy, as well as a short stylistic analysis; source text and translation; a theoretical comment, mainly based on theories from the field of Translation Studies, but also theories on lingustics and literature; and a comparative study of the use of asides as a theatrical convention in English and Swedish drama. The main focus of my translation strategy is to keep or adapt features that give the audience a sense of the cultural context where the play takes place, as well as the time – fashionable society in early Victorian England, while providing a text that is performable and speakable for the actors, and which preserves the humor present in the source text. / Den här masteruppsatsen består av en översättning av akt I-IV i Dion Boucicaults pjäs London Assurance, en teoretisk kommentar rörande översättningen samt en komparativ undersökning av avsidesrepliker. Den är uppdelad i fyra delar: en inledning där verket och min översättningsstrategi presenteras samt där en kort stilistisk analys görs, källtext och översättning, en teoretisk kommentar som främst grundar sig i översättningsvetenskapliga teorier, men även i språk- och litteraturvetenskapliga, samt en komparativ undersökning av användningen av avsidesrepliker som teaterkonvention i engelskt och svenskt drama. Min översättningsstrategi fokuserar på att behålla eller bearbeta sådana drag som ger publiken en känsla av pjäsens kulturella och tidsmässiga kontext – högre societet i det tidiga viktorianska England – samtidigt som texten ska vara spelbar och talbar för skådespelarna, och bevara den humor som finns i källtexten.

Inmiddels is Pippi een internationaal onderzoeksobject geworden. De Duitse literatuuronderzoekster Astrid Surmatz heeft een grote bijdrage geleverd met haar proefschrift Pippi Långstrump als Paradigma (2005b). Wat volgens mij nog ontbrak is een grondige analyse van de Nederlandse vertaling, en wat er met de boeken gebeurd is na hun oorspronkelijke vertaling. Het respect voor kinderboeken in vertaling laat nog al eens te wensen over en uitgeverijen nemen soms grote vrijheden. Geldt dat ook voor de Nederlandse uitgaven van Pippi Langkous?Deze scriptie geeft een aanzet tot het antwoord met behulp van een analyse van de vertaalnormen uit de Descriptive Translation Studies van Toury, aangevuld met de vertaalmethoden van Newmark. De conclusie is dat de eerste Nederlandse druk een adequate (Toury) of getrouwe (Newmark) vertaling is, en dat de wijzigingen in de volgende drukken er toe geleid hebben dat de tekst en de illustraties steeds meer zijn gaan afwijken van het Zweedse origineel, en dat er nu van een aanvaardbare (Toury), of idiomatische of zelfs vrije vertaling (Newmark) gesproken moet worden. Dat Nederlanders toch weten hoe Pippi door Astrid Lindgren is neergezet, is onder andere te danken aan de tv-serie, de films en de merchandise met de tekeningen van illustratrice Ingrid Vang Nyman.

Syftet med den här processorienterade studien var att undersöka hur texttypen påverkar översättningsprocessen, och närmare bestämt om olika texttyper aktualiserar olika fokus i de kognitiva processerna. Fyra deltagare fick därför översätta två olika källtexter, en operativ och en informativ. Materialet samlades in med hjälp av Think-Aloud (TA). Studien visar att de båda texterna huvudsakligen gav upphov till liknande fokus. Texttypen verkar således inte ha haft någon märkbar påverkan på översättningsprocessen i det aktuella fallet. Vad gäller deltagarnas individuella processer fokuserade flera av dem på liknande faktorer oberoende av källtexten, vilket antyder att processerna i viss utsträckning kan antas vara individuellt betingade. / The aim of the present study was to investigate whether different text types bring different focuses to the fore in the cognitive processes during translation. Four translator students were thus asked to translate one operative and one informative text while verbalizing their thoughts. The verbalizations were recorded and later transcribed into so called think-aloud protocols (TAPs). The analysis of the TAPs showed that the participants focused on similar aspects regardless of the source text, which indicates that the text type did not have any significant effect on the translation process in the study at hand.

Toury’s first law of translation states that translation of all kinds entails standardisation and, moreover, that the more peripheral the status of a text is, the more standardised its translation will be. As such, the purpose of this essay was to investigate to what extent this holds true in the Swedish translations of the two US television hospital shows Scrubs and House M.D. Though they are both hospital shows, House M.D. – considering its unprecedented genre hybridity and unusual plot structure – is a less mainstream and, as such, more peripheral example of a hospital show than Scrubs, which is more mainstream and, consequently, has a more central position within this genre. The object of study concerned the genre-specific register shared by the two shows – i.e. the medical terminology – which was extracted together with its Swedish subtitles and analysed, mainly in terms of coupled pairs. The analysis consisted of identifying which translation strategies had been adopted in the transfer of terminology and, moreover, what these strategies had entailed in terms of semantic increase, decrease, or correspondence between the original texts and their translations. From this it was concluded that both texts were indeed standardised and, additionally, that House M.D. – as the more peripheral of the two texts – had undergone a more extensive standardisation than Scrubs – being the text holding a more central status.