Esta pesquisa investiga o uso da hendíadis em 3 (três) peças de William Shakespeare (1564- 1616): Macbeth (1603-1606), Twelfth Night (1602), Julius Caesar (1599), e como foram traduzidas para o português por Carlos Alberto Nunes (1897-1990), Barbara Heliodora (1923- 2015) e Beatriz Viégas-Faria (1956-). Hendíadis é uma figura de linguagem cuja estrutura utiliza a conjunção e para conectar dois substantivos com cargas semânticas díspares que apresentam uma ideia única e complexa. Frequente na literatura latina e bíblica, é traço distintivo na linguagem de Shakespeare, sendo utilizada por exemplo no famoso solilóquio de Macbeth, ato 5, cena 5: sound and fury. Após compilação do corpus paralelo bilíngue, o material será analisado à luz das teorias da tradução, especificamente as proposições de Antoine Berman (1942-1991) sobre deformações atuantes nas traduções, de modo a entender como um elemento de difícil identificação e compreensão se comporta quando traduzido para o português. A proposta é evidenciar a estrutura na linguagem e organizar análise sobre essa característica na poética do autor, mais especificamente a apropriação e o modo que aplicava estruturas do latim para o inglês e como (e se) ela tem sido entendida nas traduções para o português no Brasil, onde a tradução da obra dramática de Shakespeare ocorre desde 1933. A pesquisa pretende também servir para a compreensão dos preceitos teóricos do campo a Traductologie desenvolvidos por Antoine Berman que incorporam a crítica de traduções. Ao tratar o tema padrão e quebra de padrão esta pesquisa busca entender como o elemento estranho e complexo é interpretado e assimilado, sem deixar de considerar fatores sociolinguísticos e históricos relativos à produção e à recepção dos textos. / This study investigates the use of hendiadys in three (3) plays by William Shakespeare (1564- 1616): Macbeth (1603-1606), Twelfth Night (1602), Julius Caesar (1599), and how they were translated into Portuguese by Carlos Alberto Nunes (1897-1990), Barbara Heliodora (1923- 2015) and Beatriz Viégas-Faria (1956-). Hendiadys is a figure of speech whose structure uses the conjunction and to connect two nouns with different semantic fields presenting a unique and complex idea. Frequent in biblical and Latin literature, they are distinctive in Shakespeares language, being used for example in the famous soliloquy of Macbeth, Act 5, Scene 5: sound and fury. After compiling the bilingual parallel corpus, the material is analyzed using translation theories, specifically the propositions proposed by Antoine Berman (1942-1991) on translation deformations to understand how an element of difficult identification and understanding behaves when translated into Portuguese. The proposal aims to highlight the structure in the language and make an analysis of this feature in the authors poetics, more specifically the appropriation and the mode in which he applied structures from Latin to English and how (and whether) they have been understood in the Portuguese translations in Brazil where translations of Shakespeare\'s plays have been made since 1933. The study also attempts to understand the theoretical guidelines of the field, traductologie, developed by Antoine Berman, which incorporate translation criticism. In dealing with the topic of standard theme and pattern break, the analysis seeks to understand how a strange and complex element is interpreted and assimilated, also considering sociolinguistic and historical factors related to the production and reception of texts.

Thèse (M.A.)--McGill University, 1998. / Comprend des réf. bibliogr.

Ce que, logiquement, attend d’un discours traductologique, c’est son utilité pour la pratique de la traduction ; autrement dit, qu’il nous aide à traduire mieux. Mais, celui d’Antoine Berman, objet de la présente recherche, excentrique et singulier, poursuit un objectif plus profond. Ici, la traduction, excédant une simple pratique, tend à devenir une « tâche ». Ayant une appréhension fragmentaire du monde - due à la fragmentation du langage - Antoine Berman voit la traduction comme le seul moyen qui, en surmontant cette fragmentation, fait révéler le « sens su monde ». D’où son engagement dans un « projet » auquel il consacre toute sa vie. Mais la dissimulation par Berman de ce « projet » derrière un discours traductologique, afin de lui assurer une meilleure réalisation, fait que le dévoilement du « projet » devienne le premier objectif de toute rencontre avec sa traductologie. Cela est d’autant plus vrai que derrière ce discours, nous découvrirons un homme « mystique » pour qui la mystification est une prise de position volontaire. / What can, logically, be expected from a traductological discourse is its usefulness to the practice of translation. In other words, it helps us to translate better. But the discourse of Antoine Berman, an eccentric and singular one, the subject of this research, pursues a deeper purpose. Here, the translation exceeding a simple practice, tends to become a “task”. Having a fragmentary understanding of the world - result of the fragmentation of the language - Antoine Berman sees the translation as the only way that, by overcoming the fragmentation, makes reveal the “meaning of the world”. Hence, his commitment to a “project” to which he devotes his entire life. But the concealment by Berman this “project” behind a traductological discourse, to ensure him a better fulfillment, makes that the unveiling of the “project” will become the primary goal of any encounter with his “traductology”. This is especially true given that behind this discourse, we will discover a “mystical” man for whom the mystification is a voluntary position.

A proposta deste trabalho é analisar os elementos sobrenaturais e mágicos presentes nas narrativas do núcleo fundador das Mil e uma noites e nas histórias inseridas ao livro, no século XVIII, pelo primeiro tradutor dessa obra, o francês Antoine Galland. Ao ter em mãos o manuscrito que, atualmente, é considerado o melhor e o mais antigo das Mil e uma noites, o orientalista francês não somente traduziu o núcleo mais antigo do livro, mas também inseriu novas histórias, algumas das quais, até o momento, não possuem um manuscrito árabe e, por isso, são chamados contos órfãos. Observa-se que tanto nas histórias do núcleo fundador como nas que foram inseridas por Galland os seres sobrenaturais e mágicos apresentam diferentes funções, veiculando valores e concepções socioculturais diferentes. Por isso, propõe-se neste trabalho a identificação, a descrição e a análise da função desses elementos sobrenaturais e mágicos nas narrativas em questão, observando tanto sua importância para o desenvolvimento da intriga como a construção de sentido que tais elementos promovem nos dois ciclos narrativos, elaborados em contextos socioculturais distintos. Com base nas narrativas em que os elementos sobrenaturais e mágicos desempenham um papel preponderante no enredo, delimitou-se para este trabalho um corpus de 23 histórias, o que permitiu observar amplamente as modificações das funções desses elementos nos diferentes textos, bem como os diferentes sentidos que eles constroem nas histórias dos dois ciclos narrativos. / The purpose of this research is to analyze the supernatural and magical elements available in the constitutive narratives of the founding nucleus of the Thousand and One Nights and the tales added to the book in the 18th century by its first translator, Antoine Galland. Since he acquired the manuscript, which is considered currently to be the oldest and the best one, the French orientalist not only translated the oldest collection of tales of the book, but also added new tales whose manuscripts were not found so far, for this reason, they were called \"orphan tales\". Comparing the tales belonging to the oldest collection of the book and the ones written by Galland, we conclude that the supernatural and magical beings play various roles transmitting different moral values and sócio-cultural conceptions. For this reason, we aim to identify, describe and analyze the roles of these elements in the narratives, taking into consideration their importance while generating the intrigue and the way they create meanings along the two narrative cycles built in various sócio-cultural contexts. After selecting the narratives in which the supernatural and magical elements play more influential roles in the storyline, we chose 23 tales as a corpus allowing us to observe clearly the role changes of the elements in each text.

Este estudo consiste numa análise da tradução do romance Tistifil Miril Strib, de Rachid Daif, proposta por nós, do árabe ao português brasileiro. Com base no trabalho de Antoine Berman, A Tradução e a Letra, ou o Albergue do Longínquo, selecionaram-se decisões tradutórias que demonstrassem o nosso esforço em realizar uma tradução que levasse em conta o objetivo ético do traduzir, acolhendo o Estrangeiro que reside no texto original. Com essa finalidade, analisou-se a ação de três tendências deformadoras próprias da tradução da prosa literária, que agem sobre os traços mais característicos desse romance; são elas: 1) o empobrecimento quantitativo; 2) a destruição ou a exotização das redes de linguagens vernaculares; e 3) o apagamento das superposições de línguas. Em seguida, avalia-se até que ponto se consegue evitar essas forças deformadoras que afastam a tradução de seu objetivo ético, uma vez que destroem a letra do texto, isto é, a sua forma, em favor da transmissão do sentido. Conclui-se que, embora o tradutor tenha consciência da atuação dessas tendências durante o processo tradutório, esse não consegue se libertar plenamente delas. No entanto, isso não o impede de encontrar soluções que possibilitem a manifestação das estranhezas e das particularidades do texto original na língua de chegada, obedecendo à ética da tradução / The purpose of this study is to analyze the translation, proposed by us, of the novel Tistifil Miril Strib by Rashid Al-Daif, from Arabic into Brazilian Portuguese. Based on the theory proposed by Antoine Berman in his work La traduction et la lettre, ou Lauberge du lointain, we selected some of our translation decisions so as to demonstrate the effort of performing a translation with the ethical goal of hosting the foreigner who inhabits the source text. In order to do so, we analyze the action of three deforming tendencies typical of translating literary prose, which affect the inherent character of this novel. They are as follow: 1) quantitative impoverishment; 2) the destruction of vernacular networks or their exoticization; and 3) the effacement of the superimposition of languages. Then, we consider how well we can neutralize these deforming forces, which keep the translation away from its ethical aim by destroying the text letter, its form, so as to keep the content transmission. To summarize, even though the translator is conscious of how these tendencies work during the translation process, he cannot free himself completely from these forces. However, this does not stop him from finding solutions that enable the manifestation of the strangeness and particularities of the source text, within the target language, according to the ethics of translation

L’objet de la thèse est l’illustration des traits distinctifs du travail d’André Antoine au Théâtre Libre. Sa modalité de mettre à la scène est présentée dans son cadre historique à la confluence de nombreux facteurs et elle est lue comme un nœud où plusieurs éléments arrivent à converger. L’analyse des constantes du devenir scénique et des modalités opératives sont mises en rapport avec sa sollicitation continuelle de tous les aspects de l’expérience théâtrale, dictée par l’aversion pour un type de théâtre dépourvu de souffle artistique et ensuite, en dernière analyse, de vérité. On expose la construction de l’espace scénique, inspirée par son attention à l’aspect visuel de la scène, et ses liaisons avec la dramaturgie. Du côté de la dramaturgie on considère le rapport entre Antoine et les auteurs, sa conception dramatique, la constitution du répertoire, l’éclectisme, le caractère de laboratoire et sa contribution à la recherche de la nouvelle formule dramatique. Du côté de la construction de l’espace scénique on considère les décors, les accessoires, l’action des figurants et les effets d’éclairage. On analyse aussi le rôle du Théâtre Libre en rapport avec l’univers théâtral environnant, au moyen d’une réflexion à propos du sens attribuable à son amateurisme, d’une confrontation avec les cercles d’amateurs contemporains et d’un examen de son public. Enfin, on envisage la manière de jouer d’Antoine, sa méthode de construction du personnage et le travail de la troupe / This thesis focuses on the distinctive features of André Antoine’s work at the Théâtre Libre. His staging practice is examined in its historical framework, located at the confluence of various factors, and read as a knot in which several elements come to converge. The constants of his scenic research and of its operative modes are analysed in relation to his ceaseless questioning of the theatrical experience in all its aspects: this approach springs from Antoine’s hostility to a theatre completely devoid of artistic inspiration and, ultimately, of truth. The thesis describes his use of the scenic space, suggested by his attention to the visual aspect of the stage, and its relationships with dramaturgy. As for the dramaturgy, the relations between Antoine and the authors are studied together with his dramatic theory, the making of his repertory, his eclecticism, his experimental attitude and the participation of Théâtre Libre in the search for a new dramatic form. As for the shaping of the scenic space, the thesis examines sceneries, props, the role of walk-ons and light effects. The analysis also takes into account the role of the Théâtre Libre in relation to the contemporary theatrical world, focusing on the meaning of Antoine’s amateurism, on a comparison with the contemporary amateur groups and on the composition of his public. The final part of the thesis is devoted to Antoine’s acting features, to the method through which he built characters and to his company’s work

Note:

Diss. Phil. Bern, 1954. / Literaturverz.

Proefschrift--Leyden. / Contains transcriptions from Payen's diaries with commentary. "Stellingen": leaf inserted. Includes bibliographical references (p. [763]-789) and indexes.

Le post-exotisme propose une expérience de lecture déstabilisante. L'univers fictionnel autoréférentiel créé par Antoine Volodine maintient dans l'indéfinition les frontières qui séparent les êtres, mais également celles entre le réel et le rêve, la vérité et l'invention. Ce monde, perturbant déjà les attentes du lecteur, est dans certains cas transmis par des narrations problématiques qui le rendent d'autant plus difficile à saisir. C'est le cas dans les deux romans à l'étude, Des anges mineurs (1999) et Dondog (2002). La combinaison d'éléments formels qui brouillent les repères du lecteur et le mènent à renégocier son adhésion au récit crée un dispositif particulier qui est au centre de ce mémoire. Celui-ci modifie la façon dont le lecteur pourra se saisir de la vérité fictionnelle : ses piliers habituels, l'autorité narrative et la cohérence fictionnelle, sont marqués par l'incertitude et tissent donc, plutôt qu'une vérité unique, une multitude de possibles. Le rapport au réel sous-tendu par la physique quantique fournit un éclairage intéressant pour comprendre les ressorts de cette vérité fictionnelle multiple. Tous deux admettent la coexistence d'états concurrents, placent l'observateur comme foyer du réel et modulent les possibles selon un rapport de probabilité. Ce parallèle fournit une manière de cerner les effets directs du dispositif formel et d'observer les mécanismes qui se mettent en place dans la lecture d'un monde évanescent.