L’objectif de ce mémoire est de faire une étude comparative de la traduction suédoise Le Ventre de l’Atlantique par Lotta Riad avec le texte source à la lumière des douze tendances déformantes d’Antoine Berman. Nous nous efforçons également de présenter « notre traduction » illustrant la méthode bermanienne. Force est de constater, qu’elle n’est pas toujours réalisable, néanmoins, cette démarche permet une réflexion stimulant la clairvoyance. / The goal of this essay is to compare the Swedish translation of The Atlantics belly by Lotta Riad with the original text using Antoine Berman’s twelve deforming tendencies. Also we will try to present "our translation" to illustrate the Berman’s method. It has to be said that it is not always workable, however, this approach allows a reflexion which stimulates the insight.

The aim of this thesis is to examine and analyse if it is possible to distinguish a new perception of time and temporality in the Swedish fashion magazine Magasin för konst, nyheter och moder, and in that case how it is expressed. To discover this, I have used the theories of the philosophers and historians Reinhart Koselleck and Marshall Berman. In their works they have pointed out and described how the early decades of the nineteenth century was a crucial time for our perception of the modern world, in the sense that we ever since then have experienced a gap between the past and the future where we cannot derive our expectations from our past experiences anymore. I have studied if this notion is communicated in the articles, and came to the conclusion that there is a new awareness of time articulated in the magazine. Mainly  there are three different understandings of time and temporality expressed within the magazine – first are those articles that shows a general new awareness of time in a constructive way, neither through a positive or negative perspective. Furthermore, there are also expressions for connections between the materialistic content in the magazine and the view on temporality, where the acknowledgment of a new temporality in fashion seems to also have an impact on a more ideological perception of time. Finally there are articles which portrays the discrepancy between expectation and experience as something with a negative significance for the future, but similarly puts this in a way that illuminates that the future is now something adaptable and possible to influence in a certain direction. This shows a new way of understanding how, in a Swedish nineteenth century context, material culture could affect people’s awareness of time and temporality and hence also their thoughts and outlook of the future even in more abstract issues. The upcoming becomes possible to interpret as something materialistic, and therefore also something more concrete and arguable.

Submitted by Hugo Giazzi Senhorini null (hugogiazzi@hotmail.com) on 2017-09-04T17:38:34Z No. of bitstreams: 1 Dissertação - versão final.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-09-06T14:34:28Z (GMT) No. of bitstreams: 1 senhorini_hg_me_sjrp.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) / Made available in DSpace on 2017-09-06T14:34:28Z (GMT). No. of bitstreams: 1 senhorini_hg_me_sjrp.pdf: 1000536 bytes, checksum: 19a7d076f6a91f56985e231e39658bda (MD5) Previous issue date: 2017-08-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation aims to discuss expressions of modernity in In the Penal Colony by Franz Kafka. More precisely, it discusses how this literary work explores and critically represents worldly elements such as extreme rationalization, and disorientation of the modern individual. This work is the result of an investigation which works with the hypothesis that it is possible to read Kafka’s narrative as an allegorical representation of modernity itself. The first chapter of this text discusses, based on philosophical and sociological sources, some of the most characteristic phenomena of that which is understood as modernity, in order to eventually formulate a sufficiently stable concept of modernity that may support the subsequent literary analysis. Within this discussion, a concept such as the Disenchantment of the world receives special attention. In addition, modern literature and Modernism are exposed in the first chapter. The second chapter introduces, firstly, a brief critical revision on Kafka’s oeuvre. Subsequently, it presents the reading of In the Penal Colony, which is separated in two parts, or two “levels”. The first level exposes an immanent analysis of the narrative, and its meaningful, more formal elements are outlined, thus creating, through this close-reading process, an array of interpretative elements that are supported by the literary text; in the reading’s second level, the elements outlined by the previous analysis are related and studied in relation to the modern world elements as these have been previously defined. Thus, the second chapter tries to build an interpretation of the narrative that can outline and comprehend, in a cohesive reading, the exploration, expression, and criticism of those modern characteristics made by the literary work. This process verifies that Kafka’s work can, on an interpretative level, express modernity critically, and rebuild it within a complex allegorical construction. / A presente dissertação discute expressões da modernidade em Na colônia penal, de Franz Kafka. Mais precisamente, discute a maneira como essa obra literária explora e representa criticamente elementos de mundo como a racionalização extrema e a desorientação do indivíduo moderno. Este trabalho é fruto de uma investigação que considera a hipótese de que é possível ler a narrativa de Kafka como uma figuração alegórica da própria modernidade. O primeiro capítulo do texto discute, a partir de fontes filosóficas e sociológicas, alguns dos fenômenos mais característicos daquilo que se entende como modernidade, para eventualmente formular um conceito de modernidade suficientemente estável, que possa embasar a análise literária posterior. Nesse caminho, um conceito como o de desencantamento do mundo recebe especial atenção. O segundo capítulo introduz uma breve revisão crítica sobre a obra de Kafka; depois disso, constrói-se a leitura de Na colônia penal, que está dividida em duas partes, ou dois “níveis”. No primeiro nível, apresenta-se uma análise imanentista da narrativa, e são ressaltados os seus elementos significativos mais formais, criando-se, a partir desse processo de close-reading, uma rede de elementos interpretativos que se fundam no próprio texto; no segundo nível da leitura, relacionam-se os elementos que a análise literária traz à tona àqueles fenômenos de mundo reconhecidamente modernos, isto é, busca-se construir uma interpretação da obra que ressalte e compreenda, numa rede coesa de sentido, a exploração, exposição e crítica, por parte da obra literária, das características da modernidade conforme as reconhecemos e definimos no primeiro capítulo. Nesse processo, verifica-se que a obra de Kafka pode expressar criticamente a modernidade e representá-la em uma construção alegórica complexa.

Submitted by Leandro Dorval Cardoso (l.cardoso@unesp.br) on 2018-09-20T19:45:22Z No. of bitstreams: 3 Volume1.pdf: 1655634 bytes, checksum: e0cfb4258e2f9114e1d810b2f596999f (MD5) Volume2.pdf: 2261057 bytes, checksum: d86391b4396e29974a568f9660aefcd8 (MD5) Volume3.pdf: 2283033 bytes, checksum: 083db4f44d57543eade854967f18cde3 (MD5) / Rejected by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br), reason: Boa tarde Leandro, Solicitamos que realize correções na submissão seguindo as orientações abaixo: NOS 3 VOLUMES: 1) número processo CAPES na folha de rosto 2) ficha catalográfica, lembrando que a ficha catalográfica representa seu trabalho como um todo, então será incluída a mesma ficha nos 3 volumes. Sugerimos que no campo do formulário nº de folhas você preencha: 3 v., XX, XX, XX, onde os XX representam os números de folhas dos respectivos volumes. 3) retirar folhas em branco entres folhas pré-textuais 4) LISTA DE ILUSTRAÇÕES em outra folha 5) o SUMÁRIO inicia-se pela APRESENTAÇÃO; os itens anteriores (Resumo, Abstract, Lista de Quadros, Lista de Ilustrações, Lista de Abreviaturas e Siglas, Sumário) NÃO SÃO relatados no SUMÁRIO 6) Renumerar o trabalho, lembrando sempre que as páginas pré textuais devem ser contadas (com exceção da capa e ficha catalográfica), mas a numeração deverá aparecer somente a partir da apresentação no canto superior direito. 7) De acordo com: PORTARIA Nº 206, DE 4 DE SETEMBRO DE 2018 - Dispõe sobre obrigatoriedade de citação da CAPES (Diário Oficial da União: http://pesquisa.in.gov.br/imprensa/jsp/visualiza/index.jsp?data=05/09/2018&jornal=515&pagina=22), NOS AGRADECIMENTOS VC DEVERÁ COLOCAR A FRASE: O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001 Para maiores esclarecimentos, acesse as normas da biblioteca: http://fclar.unesp.br/#!/biblioteca/normas-da-abnt/normalizacao/ ou procure as bibliotecárias da Seção de Referência, Camila (camila.serrador@unesp.br) ou Elaine (elaine.batista@unesp.br) - (16) 3334 6222 Agradecemos a compreensão. on 2018-09-25T18:26:49Z (GMT) / Submitted by Leandro Dorval Cardoso (l.cardoso@unesp.br) on 2018-09-26T18:15:30Z No. of bitstreams: 3 Volume1.pdf: 1655634 bytes, checksum: e0cfb4258e2f9114e1d810b2f596999f (MD5) Volume2.pdf: 2261057 bytes, checksum: d86391b4396e29974a568f9660aefcd8 (MD5) Volume3.pdf: 2283033 bytes, checksum: 083db4f44d57543eade854967f18cde3 (MD5) / Rejected by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br), reason: Leandro, Boa tarde, Confome seu email abaixo: No último dia 25 recebi um e-mail com as correções que devo fazer em minha tese para a submissão. Por engano, porém, acabo de refazer a submissão dos mesmos arquivos com os mesmos problemas já apontados. Gostaria de cancelar a última submissão realizada para poder submeter os arquivos corretos. Desde já, agradeço a atenção e aguardo retorno. Att., Leandro Dorval Cardoso Att., on 2018-09-26T18:47:59Z (GMT) / Submitted by Leandro Dorval Cardoso (l.cardoso@unesp.br) on 2018-09-27T16:03:37Z No. of bitstreams: 3 Vol1.pdf: 1655814 bytes, checksum: 4bd2db8b7f162409decb28b6006a5a8e (MD5) Vol2.pdf: 2275246 bytes, checksum: 9d0c068b5aeebad41b0e36173d28eb5f (MD5) Vol3.pdf: 2297493 bytes, checksum: f90ea42a4597deee15df97a054a21e1c (MD5) / Rejected by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br), reason: Boa tarde Leandro, Solicitamos que realize correções na submissão seguindo as orientações abaixo: VOLUME 2 e VOLUME 3 - a ficha catalográfica dos volume 2 e volume 3 devem serem idênticas ao do volume 1 (paginação) Para maiores esclarecimentos, acesse as normas da biblioteca: http://fclar.unesp.br/#!/biblioteca/normas-da-abnt/normalizacao/ ou procure as bibliotecárias da Seção de Referência, Camila (camila.serrador@unesp.br) ou Elaine (elaine.batista@unesp.br) - (16) 3334 6222 Agradecemos a compreensão. on 2018-09-27T17:14:28Z (GMT) / Submitted by Leandro Dorval Cardoso (l.cardoso@unesp.br) on 2018-09-27T18:23:51Z No. of bitstreams: 3 Vol1.pdf: 1655814 bytes, checksum: d8ad8bf406bc32b2ca5dafc3e1a01d54 (MD5) Vol2.pdf: 2277830 bytes, checksum: 8d53ef3e475097ccb9accd9e784ef600 (MD5) Vol3.pdf: 2300077 bytes, checksum: 4b5284fe5c7aa22649e5cb98d72a836a (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-09-28T12:25:18Z (GMT) No. of bitstreams: 3 cardoso_ld_dr_arafcl1.pdf: 1655814 bytes, checksum: d8ad8bf406bc32b2ca5dafc3e1a01d54 (MD5) cardoso_ld_dr_arafcl2.pdf: 2277830 bytes, checksum: 8d53ef3e475097ccb9accd9e784ef600 (MD5) cardoso_ld_dr_arafcl3.pdf: 2300077 bytes, checksum: 4b5284fe5c7aa22649e5cb98d72a836a (MD5) / Made available in DSpace on 2018-09-28T12:25:18Z (GMT). No. of bitstreams: 3 cardoso_ld_dr_arafcl1.pdf: 1655814 bytes, checksum: d8ad8bf406bc32b2ca5dafc3e1a01d54 (MD5) cardoso_ld_dr_arafcl2.pdf: 2277830 bytes, checksum: 8d53ef3e475097ccb9accd9e784ef600 (MD5) cardoso_ld_dr_arafcl3.pdf: 2300077 bytes, checksum: 4b5284fe5c7aa22649e5cb98d72a836a (MD5) Previous issue date: 2018-05-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese propõe um projeto de tradução poética para os cinco primeiros cantos do poema épico Thebais, do autor romano Públio Papínio Estácio (séc. I d.C.), fundamentado no objetivo de manifestar, em português, as peculiaridades da poesia estaciana. Para isso, a tradução foi precedida por uma análise das principais características do texto e por uma discussão sobre a natureza e o próprio papel da tradução, feita a partir de concepções contemporâneas desenvolvidas no âmbito dos Estudos da Tradução. Após a tradução, são apresentados comentários críticos e explicativos para cada um dos cinco cantos com vistas a discutir, destacar e esclarecer passagens mais obscuras, referências sutis e questões relevantes para a construção de sentidos no poema. / This thesis proposes a poetic translation project for the first five books of the epic poem Thebais, by the Roman author Publius Papinius Statius (1st century AD), based on the objec- tive of expressing in Portuguese the peculiarities of Statian poetry. For this, the translation was preceded by an analysis of the main characteristics of the text and a by a discussion about the nature and the proper role of the translation, based on contemporary conceptions developed within the framework of the Translation Studies. After the translation, critical and explanatory comments were presented for each of the five books in order to discuss, highlight and clarify more obscure passages, subtle references and issues relevant to the construction of meanings in the poem. / CAPES: 88882.180355/2018-01 (Migrado - SACPAIS)

Notre thèse de maîtrise en histoire de la philosophie s’intéresse au débat esthétique, sociologique, politique et philosophique qu’a suscité l’apparition de la notion de « postmoderne ». Plus précisément, nous nous penchons sur l’intervention marxiste anglo-américaine dans ce débat au cours des années 1980 à travers l’examen de trois auteurs — Marshall Berman, Fredric Jameson et David Harvey — qui y ont contribué de manière significative. Afin de lever le voile de la confusion quant aux diverses significations attachées au champ lexical de « postmoderne », nous aurons recours au concept heuristique de la « question postmoderne » qui permet de distinguer trois niveaux de signification — culturel-esthétique, théorie du changement social, philosophico-historique —, mais aussi de les rassembler et de discuter du « postmoderne » dans sa généralité. La réponse marxiste à la question postmoderne fut hautement dépendante des interventions de Daniel Bell et Jean-François Lyotard et leur présence dans ce travail permettra de comprendre le contexte intellectuel et conceptuel avec, notamment, la nature de la transition entre le modernisme et le postmodernisme esthétiques, l’émergence d’une société postindustrielle et l’idée d’une postmodernité comme crise de légitimation des métarécits de la modernité. Nous examinons de quelle manière Berman, Jameson et Harvey ont traité de la question postmoderne dans leurs écrits s’étendant du début des années 1980 à la fin de cette décennie. L’on pourra voir que ce marxisme anglo-américain ne s’oppose pas de prime abord aux notions de « postmodernisme » ou de « postmodernité », bien qu’il craigne les illusions idéologiques qui accompagnent ces notions et tendent à obscurcir le rôle joué par le capitalisme dans les transformations sociales et culturelles.

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The focus of this essay lies on examining the modernistic aesthetics of prose in Thorsten Jonsson’s novel Konvoj (1947). When Walter Benjamin wrote ”The Work of Art in the Age of Mechanical Reproduction” he proved that new technological inventions affected the reception of art. By studying Konvoj in light of Benjamin’s theory, this study indicates that the technology of modernity affects the narrative and the use of metaphors in the novel. In addition I want to investigate how Konvoj can be studied through the theories of Marshall Berman, Theodor W. Adorno and Anthony Giddens, and this by envisioning the modernistic prose as a response to the 19th century modernity. This study illustrates that the style and the narrative aspects of the novel can be understood through modernity, and that the plot (and the characters) are all affected by it. The protagonist of the novel, Antoni Borowski, becomes an object when he is caught in a situation he can’t control, but also a subject when caught in situations he is capable of taking control of. The analysis shows that Konvoj is not only an innovative and an experimental novel in terms of its narrative, but also a novel in which the distinction between nature and culture affects the protagonist Borowski with confusion and alienation.

Notre travail rend compte de la double articulation d’analyse d’Antoine Berman dans Pour une critique des traductions: John Donne. La méthode bermanienne intègre tant une histoire, événementielle et individuelle, des traductions qu’une analyse des textes à la lumière de leurs entours (paratextes, projets de traduction, etc.). Dans une première partie, nous tenterons de décrire à l’aide d’un panorama historique l’importation de la poésie de Rilke en traduction française, des premières versions du début du XXe siècle aux dernières traductions des Élégies de Duino. Nous nous attacherons à l’identité des différents (re-)traducteurs et à l’horizon général de leur travail. Dans une seconde partie, nous comparerons plusieurs versions françaises de la première Élégie de Duino, oeuvre poétique de Rilke la plus retraduite en français. A travers différents critères touchant à la forme et au sens, nous saisirons l’apport de ces traductions et le lien qui les unit, afin de constater in fine si les comportements socio-culturels observés dans la première partie se matérialisent aussi dans la pratique des (re-)traducteurs duinésiens / This dissertation rests on the double articulation of Antoine Berman’s analysis of translation in Toward a translation criticism: John Donne. Indeed, Berman’s method integrates as well a macroscopic and individual history of translations as an analysis of texts, considering their peripheral features (paratexts, translation projects, etc.). In the first part, we will depict through a historical panorama the import of Rilke’s poetry in French, from the first versions of the early 20th century to the latest translations of the Duino Elegies. We will thereby give heed to the identity of the different (re-)translators and to the general horizon of their translations. In the second part, we will compare several French versions of the first Duino Elegy, Rilke’s most retranslated poetical opus in French. Through various criteria dealing with form and sense, it will be a question of comprehending what these translations bring and the kind of bond holding them together. We intend eventually to find out whether the sociocultural behaviors we noticed in the first part are also observable in the practices of the Duinesian (re-)translators.

Denna magisteruppsats är baserad på översättningen av de två första kapitlen i ungdomsboken Goggle-Eyes (1989) av den brittiska författaren Anne Fine. Uppsatsen undersöker effekterna av en främmandegörande översättningsstrategi med utgångspunkt i Antoine Bermans negativa analysverktyg och med avseende på undvikandet av förlust av ikoniska och klangfulla ord och förlust av uttryck och idiom inklusive namn. Analysen visar att det i många fall är möjligt att bevara ikoniska och klangfulla ord vid översättningen, utan att effekten på måltexten blir främmandegörande, medan bevarandet av uttryck och namn i flera fall kräver förtydliganden för att måltexten ska bli begriplig för målgruppen. / The present study is based on the translation of the first two chapters of Goggle-Eyes, a novel for young teenagers by the british author Anne Fine. The study examines the effects of a foreignizing translation strategy based on Antoine Berman’s negative analytics, concerning avoidance of the loss of sonorous and iconic terms and expressions and idioms. The analysis suggests that in many cases it is possible to keep sonorous and iconic terms in translation without creating a foreignizing effect that could make reading difficult for young readers. However, the keeping of expressions and idioms in many cases calls for clarification in order to create a target text that is understandable for the target group.

Denna uppsats består av en översättning från svenska till ryska av ett utdrag ur Ulf Danielssons bok Mörkret vid tidens ände och en kommentar, där de översättningsstrategier som tillämpats samt deras teoretiska utgångspunkter analyseras. Den översättningsteoretiska ramen för uppsatsen utgörs av Katharina Reiss’ texttypteori, men även de översättningsteorier som fokuserar på hur översättaren kan undvika en stilistisk utarmning vid översättning av expressiva texter beaktas, nämligen Antoine Berman negativa analys och Jiří Levýs undersökning av översättningstendenser. Översättningsanalysen visade att de vanligast förekommande strategierna vid översättningen av källtextens informativa sakinnehåll var explicitering och syntaktiska modifikationer, medan fokus vid arbetet med bildspråket låg på att bevara källtextens känsloladdning och estetiska verkningskraft eller på att kompensera för eventuella förluster. Även den översättningsproblematik som skapades av källtextens intertextualitet tas upp, och de lösningar som möjliggör att bevara både de informativa och estetiska funktioner som de intertextuella inslagen har i texten diskuteras. / This study consists of the translation of an excerpt from Ulf Danielsson’s book Mörkret vid tidens ände (Darkness at the end of time, my own translation) from Swedish to Russian, as well as a commentary, which provides analysis of applied translation strategies and their theoretical background. The theoretical framework of this study is comprised of Katharina Reiss’ theory of text types, along with the translation theories conceptualising the ways to avoid stylistic impoverishment of the translated expressive texts, namely Antoine Berman’s negative analytics and Jiří Levýs study of common translation tendencies. The translation analysis shows that the translation strategies most commonly used while working with the informative content of the source text, were explicitation and syntactic modifications. In the process of working with figurative language, the focus was either on transferring the emotional connotations and aesthetic character of the source text or on compensation for eventual losses. Moreover, the issue of intertextuality is discussed and analysis is provided of those solutions that allowed preservation of both informative and aesthetic functions, fulfilled by intertextual elements in the source text.