À la fin des années 1940, une nouvelle avant-garde théâtrale fait son apparition dans les petites salles de la Rive gauche à Paris : le théâtre « de l’absurde », désigné ainsi par le critique britannique Martin Esslin. Cette écriture dramatique novatrice, qui parvient à s’imposer rapidement auprès du public français et international, connaît sur les scènes ouest-allemandes un succès durable. La présente thèse s’emploie à mettre au jour le processus de transfert et les modalités de réception en République Fédérale d’Allemagne des œuvres des principaux représentants de ce mouvement : Arthur Adamov, Samuel Beckett, Jean Genet et Eugène Ionesco.À partir de sources inédites issues des archives, il s’agit de reparcourir les trajectoires des médiateurs de cette importation culturelle, de retracer la chronologie de la réception et de souligner la diversité des supports utilisés, théâtraux, radiophoniques et télévisuels. La circulation des œuvres dans le paysage théâtral ouest-allemand entre 1949 et 1989 est étudiée dans ses différentes étapes, de leur découverte par les maisons d’éditions à leurs traductions, créations scéniques majeures et enfin leur accueil par la presse spécialisée et le public dans son ensemble. Par nature cosmopolite, le répertoire théâtral « de l’absurde » a été doté dans la culture d’accueil ouest-allemande d’une dimension internationale qui a favorisé la réussite de son intégration. Ce travail ouvre ainsi un chapitre inédit dans l’histoire de l’Allemagne, de sa culture et de son théâtre comme, plus largement, des relations culturelles franco-allemandes. / At the end of the 1940s, a new theatrical avant-garde appears on the small stages of the Left Bank in Paris: the theatre of the “absurd”, as conceptualised by the British drama critic Martin Esslin. This innovative dramatic writing style succeeds in establishing itself with the French and international public, and enjoys a long-lasting success in West German theatres. This thesis aims at uncovering the process of cultural transfer and the modes of reception in the Federal Republic of Germany through the main representatives of this movement: Arthur Adamov, Samuel Beckett, Jean Genet and Eugène Ionesco. Based on previously unpublished archival sources, this work retraces the path of the mediators of this cultural import, follows the chronology of the reception and highlights the diversity of the types of media used: theatre, radio and television. The individual steps through which the theatrical works were circulated in the West German theatre landscape between 1949 and 1989 will be analysed from the discovery by publishing houses via different translations, to major stage productions and finally the acceptance by the theatrical press and the general public. Thanks to its cosmopolitan nature, the theatre of the “absurd” was endowed by the West German host culture with an international dimension that contributed to its successful integration. Hence this study opens a new chapter in the history of Germany, its culture and theatre as well as, more widely, the French-German cultural relations.

This PhD. Thesis "The Language of Images (The Image of an Author as a Paratextual Phenomenon in Cultural Transfer)" deals with the teoretical questions of the notion "The Image of an Author" and the way the term is constituted and its conections to a specific cultural space in the frame of cultural transfer. The Image of the Author is interpreted as a paratextual phenomenon which is on the one hand created through review acceptance and medial discurs in the cultural space, and on the other hand has influence on the way the text is accepted by the reader. The question of the image of an author is approached in the context of other paratextual elements, paratexts are from our point of view read as cultural (semantic) units, which participace on semiotic space of culture. The first three chapters form the teoretical basis of the thesis and focus on the theme of cultural transfer and paratexts. The core of the thesis is in its second part which presents four case studies about four different author's types in contemporary Czech literature (Jáchym Topol, Petra Hůlová, Jaroslav Rudiš, Miloš Urban). Each case study analyses the main points of their reception, the speech of the medial discourse and the way of their presentation and self-presentation. A comparison with distinc attributes of reception in...

Made available in DSpace on 2016-08-03T16:15:37Z (GMT). No. of bitstreams: 1 Samuel Rocha de Oliveira.pdf: 2598638 bytes, checksum: 903fadf8b4cbdc90137060594ed27017 (MD5) Previous issue date: 2012-08-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work analyzes the educational system in Ticuna tribe, located in the Alto Solimões, Amazonas state, where I have been working for 21 years in permanent contact with the Ticuna Indians. Over the years I have observed that every day, and more intensely, maintaining their culture has undergone the process of influence of non-Indian culture. This work is carried out a historical survey on the possible existence of two streams of education among Ticuna teachers.One considers an important bilingual education, the study of myths and customs for the preservation of culture, the other believes that it is harmless to study the myths and other cultural aspects that can be seized on a daily basis, they argue that the Indians need of equal education that of non-indigenous, to compete in the market on equal terms. Initially it is proposed a historical inquiry about the educational process related to Ticuna culture outside the school, trying to verify the relationship between what is transmitted by the school and that is evident in the daily Ticuna. It then performs an analysis of how education takes place in the middle Ticuna implanted under the heading "Indian Education". Noteworthy are the factors that influenced the founding of the school, its location and other aspects related to the physical, economic, social and cultural as well as the environment and human learning, data that support the proposed objective for this work. It seeks to determine whether education developed in indigenous school fulfills the role of constantly seeking alternatives to an education that is appropriate to the survival of the Ticuna culture, an education to the cultural reality. The research is based on survey data through documents, as well as in interviews with leaders, teachers and elders of the Ticuna tribe, also on direct observation, with notes taken in a field notebook. The process of assimilation and influence of non-Indian culture is dominant in the upper Amazon and has "crushed" Ticuna culture, so that many no longer want more fish, hunt and live as farmers or collectors. It is necessary to seek educational alternatives for Ticuna indigenous school in an education that is appropriate for the survival of their culture and at the same time minimize the prejudice faced by these people. Leaders and teachers Ticuna expect the school to help in the preservation and enhancement of their culture. The damage caused to the cultural education of the Indians Ticuna is large, the majority of children and young people are not knowledgeable of the meanings of religious rituals, myths, legends and beliefs. Often know to perform the ritual, but it seems more an imitation of gestures, which is releasing its real meaning. It is hoped that the end of this research we are able to use the material developed for reflection. It may serve as a starting point for teachers Ticuna in developing guidelines and development of a new educational paradigm that puts more emphasis on culture. / Esse trabalho busca analisar o sistema educacional na tribo Ticuna, localizada na região do Alto Solimões, estado do Amazonas, onde estou há 21 anos em contato permanente com os índios Ticuna. Com o passar dos anos tenho observado que a cada dia, e de forma mais intensa, a manutenção de sua cultura vem sofrendo com o processo de influência da cultura não índia. Nesse trabalho realiza-se um levantamento histórico referente à possível existência de duas correntes educacionais entre os professores Ticuna. Uma considera importante um ensino bilíngue, o estudo dos mitos e costumes para preservação da cultura; a outra acredita que é inócuo estudar os mitos e outros aspectos culturais, que podem ser apreendidos no dia a dia, defendem que os índios precisam de uma educação igual a dos não indígenas, para competir no mercado em condições de igualdade. Inicialmente propõe-se uma busca histórica sobre o processo educacional relacionado à cultura Ticuna fora da escola, procurando verificar as relações entre o que é transmitido pela escola e o que se evidencia no cotidiano Ticuna. Em seguida, realiza-se uma análise de como se processa a educação implantada no meio Ticuna sob o título Educação Indígena . Destacam-se os fatores que influenciaram a fundação da escola, sua localização e aspectos relacionados ao meio físico, econômico, social e cultural, bem como, o ambiente humano e de aprendizagem, dados esses que subsidiam o objetivo proposto para este trabalho. Procura-se verificar se a educação desenvolvida na escola indígena cumpre o papel de estar constantemente buscando alternativas para uma educação que seja apropriada à sobrevivência da cultura Ticuna, uma educação adequada à realidade cultural. A pesquisa baseia-se em levantamento de dados através de documentos, como também em entrevistas com lideranças, professores e idosos da Tribo Ticuna; também na observação direta, com anotações feitas em caderno de campo. O processo de assimilação e influência da cultura não índia predomina na região do Alto Solimões e tem esmagado a cultura Ticuna, fazendo com que muitos já não queiram mais pescar, caçar ou viver como produtores ou coletores. É necessário buscar alternativas educacionais para a escola indígena Ticuna, em uma educação que seja apropriada para a sobrevivência de sua cultura e ao mesmo tempo minimize o preconceito enfrentado por esse povo. As lideranças e professores Ticuna esperam que a escola ajude na preservação e valorização de sua cultura. O prejuízo causado à educação cultural dos índios Ticuna é grande, a maioria dos jovens e crianças não são conhecedores dos significados dos rituais religiosos, mitos, lendas e crenças. Muitas vezes sabem até realizar o ritual, mas parece mais uma imitação de gestos, que se desvincula do seu real sentido. Espera-se que ao final dessa pesquisa sejamos capazes de utilizar o material desenvolvido para reflexão e que ela talvez possa servir como ponto de partida para os professores Ticuna na elaboração de diretrizes e desenvolvimento de um novo paradigma educacional que valorize mais a cultura.

The dissertation examines how the Swedish cultural code, contained in books by Astrid Lindgren, was transferred into the Polish linguistic and cultural domain. The research reveals how the Polish cultural filter affected the image of Swedish reality in the translations. The analysis took into account the transfer of both verbal and visual aspects of the cultural elements. A smooth transfer was achieved in the following sphere: changes in the linguistic code between interlocutors from different social strata; the way in which people from the privileged classes were addressed; the transfer of the verbal folklore of children. The folklore of Swedish and Polish children was shown to be more or less congruent, which may indicate the existence of a universal, transnational children’s code. The reconstruction of intertextual references was achieved in relation to the Bible. References to world literature succeeded in crossing the cultural border only partially. The complexity of the cultural code of the original led to an exoticization of the translated text. The colloquial language and dialect of the original, reflecting the structure of Swedish society failed to find its way into the translations. Emotionality in the form of expression, typical of Polish culture, caused the translations to be characterized by the use of diminutives. The emphasis on the emotional element is also visible in the enormous diversification of the verba dicendi in the translations, which also makes the text more expressive. The linguistic and stylistic conventions of the target language (i.e. Polish) caused the translations to depart from Lindgren’s simple and repetitive style. The addition of footnotes in the translations demonstrates the strong didactic tendencies in literature for children in Polish culture. They did not enrich the text of the translation, however, with any new information. The transfer of the visual element in the first translations was characterized by polonization and folkoricization. Scenes that show children at work and portray village life were subjected to a form of purification, so that the small-town milieu—in contrast to the village—was shown to advantage through its visualization. The typical rural buildings and the costumes of their inmates were transmitted via a strategy of folkloricization: by drawing on the relatively well-regarded peasant culture of the Podhale region of Poland.

Auteur emblématique de la Modernité viennoise, Hofmannsthal valorise pourtant systématiquement les notions de classicisme et de tradition littéraire, selon lui davantage instituées en France que dans les pays germanophones. Cette thèse étudie sa perception de l’héritage de la culture française, qui représente à ses yeux, d’une manière rendue critique dans le contexte de crise du tournant des XIXe et XXe siècles, un modèle esthétique et civilisateur. Elle montre la coïncidence surprenante établie par Hofmannsthal entre la création théâtrale et la référence française, toutes deux placées sous le signe d’un lien social. Elle procède pour ce faire en analysant chronologiquement le regard que porte l’auteur autrichien sur les siècles de la littérature française classique, de ses prémices, à l’époque de la Renaissance, à ses variantes tardives, sous les Lumières. Elle y distingue une continuité dans l’exigence humaniste, une certaine posture moraliste, un idéal de littérature populaire et un modèle formel et générique canonique, quoique empreint de légèreté, qui selon Hofmannsthal fait cruellement défaut en Allemagne et en Autriche. Elle révèle également à quel point son œuvre, et particulièrement son théâtre, se nourrit de cette littérature étrangère, au point de revendiquer à travers elle une forme de classicisme. Elle montre ainsi comment Hofmannsthal, en cherchant à accroître les échanges intellectuels entre la France et son pays, incarne une figure d’auteur paradoxalement originale, à mi-chemin entre une vocation diplomatique européenne et une forme de moralisme moderne. / Hofmannsthal, considered to be one of the eminent members of Viennese Modernity, systematically emphasizes, however, the notions of classicism and literary tradition, which are, according to him, more established in France than in german-speaking countries. This dissertation studies his perception of the inheritance of French culture, which represents for him an aesthetical and civilizing pattern, in a way that becomes problematic in the context of cultural crisis at the turn of the 20th century. It shows the surprising coincidence Hofmannsthal points out between the process of creating for the theatre and the reference to France, which are both deemed to contribute to the fabric of society. It proceeds to analyse the look the Austrian author casts on the history of French classic literature in chronology, from its beginnings, in the Renaissance, to its late variations, in the age of Enlightenment. It underlines a continuity in the humanistic involvement, an attitude that stresses the importance of moral choices, an ideal of popular literature and a formal and generic canonic pattern which, though also marked by a certain lightness, is strongly missing, according to him, in Germany and Austria. It also reveals how much his works, and especially his plays, find their impulse in this foreign literature, so that, through it, they seem to claim a kind of classicism. It shows then how Hofmannsthal, by trying to develop intellectual exchanges between France and his country, embodies a paradoxically original type of author, at the crossroads between a European diplomatic vocation and modern moralism.

Die Bluesbewegung war eine Jugendbewegung, die sich Ende der 1960er Jahre in der DDR formierte. Sie regte einen Kulturtransfer an, der in den 1970er und 1980er Jahren amerikanischen Blues in die DDR brachte. Die vorliegende Arbeit rekonstruiert diesen Prozess, angefangen bei den Motiven für die Jugendlichen, sich für Blues zu interessieren, über die Vermittlung des Blues durch verschiedene Medien, vor allem durch den Hörfunk, bis zur DDR-spezifischen Aneignung des Blues inner- und außerhalb der Szene. / “Bluesbewegung” is the name of a youth movement that arose in the late 1960’s in the GDR. This movement encouraged the cultural transfer which brought American blues music into the GDR. My study wants to reconstruct this process beginning with the motives for being interested in Blues music, continuing with the transfer of Blues music throughout the media (especially in radio broadcasting), and finally, ending with the GDR-specific appropriation of Blues within and outside of the youth scene.

The aim of this study is to analyse the translation strategies used in order to translate a socio-political text from French to Swedish with focus on proper names and metaphors. Proper names and metaphors are deeply culture rooted and containers of specific elements familiar only to an initiated audience. The main purpose is to investigate the possibility of transferring these underlying elements from one culture to another, keeping in mind the genre, the aim (or skopos), the Interpretive Theory of Translation and the pragmatic aspect. Vinay and Darbelnet and Rune Ingo offered the methods for the translation of proper names. The most common strategy used was transfer or literal translation, in certain cases followed by a complementary information, and equivalence. The conceptual theory worked as a starting point for the classification of metaphors and the strategies proposed by Peter Newmark structured the translation. With the concepts of war and family the pragmatic aspect needed to be considered more frequently than with the concept of game and the procedures of conversion of metaphor to sense and translation of metaphor by simile were used to a lager extent than that of reproducing the same image. Analysing each case one by one and applying the most suitable strategy according to context and circumstances, with respect to culture differences and sense, helped us to form a coherent unity providing a suitable ground for a cultural transfer to grow, or at least to show.

Der Gegenstand dieser Arbeit sind die physischen, bibliographischen und infrastrukturellen Dimensionen skandinavischer Buchdruckkultur im Spannungsfeld zwischen Spätmittelalter und früher Neuzeit, Scholastik und Humanismus, spätem Katholizismus und früher Reformation. Ihr theoretischer Ausgangspunkt ist die Erkenntnis, dass die vorreformatorische skandinavische Buchkultur nur im Zusammenhang und Wechselspiel mit der gleichzeitigen kontinentaleuropäischen Buchkultur verstanden werden kann. Der von Deutschland ausstrahlende Vertrieb von gedruckten Büchern erweiterte sich im Gefolge der Preiskrise der 1480er und dem Ausbau Export-orientierter kontinentaler Buchdruckzentren zu einem fest etablierten, zuverlässigen Buchhandel europäischen Ausmasses. Er stellte für skandinavische Drucker eine grosse Herausforderung dar, der sie erst nach 1525 mehr und mehr gewachsen zeigten. Auch wenn die (selbstverständlich nur ungenau zu schätzende) Zahl der gedruckten Bücher, die vor der Reformation in Skandinavien vorhanden waren, an sich klein war, stützt die weit höhere Zahl der Provenienzen eindeutig die Erkenntnis, dass wir es mit einer wesentlich grösseren Buchkultur zu tun haben als bislang angenommen. Die skandinavische vorreformatorische Buchkultur unterschied sich dabei grundsätzlich nicht von der zeitgenössischen kontinentalen oder westeuropäischen Buchkultur. Gegenüber der dynamischen zeitgenössischen kontinentalen Buchzentren entwickelte sich Skandinavien zwar langsamer, ebenso wie Auswirkungen der geographisch periphen Lage nicht ausser Acht gelassen werden dürfen. Gleichzeitig aber war es in vielerlei Hinsicht fest im Gefüge der Netzwerke des kirchlichen, akademischen, intellektuellen und buchhändlerischen Europas verankert. / The subject of this thesis are the infrastructural, bibliographical and physical dimensions of Scandinavian print culture between the contradictory contexts of the Late Middle Ages and the Early Modern Period, scholasticism and humanism, late Catholicism and the dawn of the Reformation. Its theoretical point of point of origin is the awareness of the importance of the connection and interplay of Scandinavian pre-Reformation book culture with its contemporary continental counterpart for a deeper understanding of its characteristics and development. The trade with printed books emanating from Germany expanded to a reliable, well-established trade of European dimensions. While being a challenge for Scandinavian printing, which they met successfully not before after 1525, for readers it meant an opportunity. Although the number of printed books available in Scandinavia before the Reformation was not large, the large number of provenances identified and presented in this thesis supports the assumption that this print culture was much larger than assumed up to now. The nature of the Scandinavian pre-Reformation print culture didn’t essentially differ from its continental or Western European siblings. In comparison, Scandinavia did evolve slower and we mustn’t disregard the effects of a position in the geographical periphery. But, at the same time, was Scandinavia firmly positioned in European ecclesiastical, academical, intellectual and book trade networks.

Dans la présente étude intitulée « Une approche transnationale des écritures des femmes ottomanes et françaises (européennes) au 19ème et au début du 20ème siècle » nous avons étudié les ouvrages et œuvres de femmes ottomanes et européennes autour de l’image du « harem » avec une approche transnationale féministe. La revendication de la thèse est que l’on ne peut ni parler d’une seule image du harem ni d’un type de récit de harem de femme ottomane, anglaise ou française. En replaçant ces ouvrages, classés dans la catégorie de « littérature de harem » au rang de la littérature mondiale, nous avons observé les différentes manières d’appréhender la lutte pour la libération de la condition féminine des femmes ottomanes comme autant de témoignages différents. D’autre part, nous avons mis en évidence, les interactions et la solidarité que les femmes féministes ottomanes et européennes ont mis en place, malgré les différences, de race, langue et religion pour leur lutte pour la condition féminine, dans un commun état d’esprit lié aux revendications de leur genre, du 19ème siècle au début du 20ème siècle. / In this manuscript titled « A Transnational Approach to Literatures of Ottoman and French (European) Women Writers of 19th and Early 20th Centuries » works of Ottoman and European women writers gathered around the image of « harem » are explored with a comparative and transnational feminist method. Their work is analyzed in a non-Eurocentric, transnational, multi-cultural and multi- lingual, global and systematic perspective divorced from discourses of male hegemony. The central argument of this manuscript is that there are multiple images for the East and hardly any type of European women’s narrative can serve as a prototype. In this study, narratives piled under the category « harem literature » are evaluated as part of the greater World Literature and arenas for contrasting testmonies of Ottoman Women’s Liberation Movement. Moreover, solidarity and interaction developed among Ottoman and European women are noted who had common gender-related problems next to differences due ethnicity, language and religion, in the 19th and early 20th centuries.

De la fin du XIXe siècle aux premières décennies du XXe siècle, la Corée connaît un engouement sans précédent pour la découverte de l’Occident. L’acte de traduire en Corée fut un véritable acte d’accueil dans un pays à l’histoire complexe, en recherche d’identité culturelle voire nationale. Si l’on devait dessiner une frise imaginaire de l’histoire littéraire coréenne, nous serions interpellés par une sorte d’ellipse temporelle entre le passage de la littérature ancienne à la littérature moderne et contemporaine. En effet, sans l’introduction d’œuvres étrangères notamment françaises en Corée, et donc sans la traduction-création, la littérature moderne aurait probablement émergé difficilement. C’est donc grâce au transfert culturel d’une littérature européenne dite classique que la littérature moderne s’est façonnée dans le paysage littéraire coréen, résultat fulgurant d’un besoin d’évolution impulsé par un désir fort de rattraper et réveiller les esprits d’un peuple longtemps bridé par une conjoncture géopolitique particulière. La littérature en traduction de cette période est le point culminant d’une pensée littéraire, d’une notion sur la littérature elle-même qui, du système d’écriture jusqu’au transfert terminologique, n’a cessé de questionner ce qu’est la littérature. Cette étude propose de retracer ces enjeux à la fois comparatifs, historiques et littéraires par le biais des œuvres romanesques françaises du XIXe siècle en traduction publiées dans les revues et dans un journal et d’examiner, des versions des Misérables à celles du Comte de Monte-Cristo, un ensemble de romans français en traduction qui tous participent à l’acte de lire, traduire, écrire. / From the late nineteenth century to the first decades of the twentieth century Korea experienced an unprecedented craze for the discovery of Western culture. The act of translating in Korea was a real act of welcome in a country with a complex history and in search of a cultural or even a national identity. If we were to draw an imaginary frieze of Korean literary history, we would be challenged by a sort of temporal ellipse between the passage from ancient literature to modern and contemporary literature. Because, in fact, without the introduction of foreign works, especially French ones into Korea, and therefore without the process of translation-creation, modern Korean literature would most likely only have emerged with considerable difficulty. It is therefore thanks to the cultural transfer of classical European literature that modern literature has shaped itself in the Korean literary landscape, a result of a need for evolution driven by a strong desire to catch up and awaken the spirits of a people long constrained by a particular geopolitical situation. The translation literature of this period is the culmination of a literary idea, a notion about literature itself, which, from the writing system to terminological transfer, has constantly questioned what literature is. This study proposes to trace these issues - at once comparative, historical and literary - through translations of French fictional works of the nineteenth century published in magazines and in newspapers and to compare versions of “Les Misérables”, and those of “Le Comte de Monte-Cristo”, French novels in translation that all entail the act of reading, translating, writing.