Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T03:48:21Z (GMT). No. of bitstreams: 1 Bueno_ThaisRibeiro_M.pdf: 823992 bytes, checksum: c6729e69eab67c4473cd6a137925372d (MD5) Previous issue date: 2012 / Resumo: Historicamente, a tradução tem sido pensada em função de pares dicotômicos (original/tradução; autor/tradutor; domesticação/estrangeirização; língua-fonte/línguaalvo), raciocínio que revela a crença na possibilidade de uma língua homogênea e estanque. Contudo, em comunidades cuja política e sociedade são fortemente marcadas por fatores de heterogeneidade étnica e linguística, tal crença fica abalada, sobretudo, quando se nota a enorme diversidade de línguas decorrente dessa heterogeneidade, tanto nas interações entre os falantes quanto na literatura. Esse é o caso da literatura chicana, que constitui o corpus desta pesquisa, sendo representada por Gloria Anzaldúa e Rolando Hinojosa, autores de Borderlands/La Frontera - The New Mestiza e Dear Rafe/Mi Querido Rafa, respectivamente. Tais obras, guardadas suas singularidades, apresentam marcas de heterogeneidade linguística (a escrita construída a partir do inglês, do espanhol e até mesmo do nahuatl, língua falada no império asteca; o codeswitching [ou alternância de código]; o braiding languages [ou entrelaçamento de línguas]; a subversão dos limites dos gêneros textuais) que desafiam qualquer projeto tradutório que se paute por noções tradicionais de língua e tradução. Com base nesse panorama, analisamos neste trabalho as possibilidades de reflexão que as obras do corpus podem oferecer ao campo dos estudos da tradução e as consequências de tal reflexão para a ética e para o tradutor (se é possível pensarmos em um único perfil). Tal reflexão é feita com base em conceitos e ideias propostos por linguistas, tradutores e teóricos da tradução de linha pós-estruturalista, tais como Lawrence Venuti, Kanavillil Rajagopalan e Alexis Nouss, pensadores de orientação pós-moderna, como Jacques Derrida, e teóricos de linha pós-colonialista, como Homi Bhabha / Abstract: Translation theories have been historically based on dichotomies (original/translation; author/translator; domestication/foreignisation; source language/target language). Such discourse unveils the belief in the possibility of linguistic homogeneity. Nevertheless, such belief becomes unsustainable in communities which politics and society are expressly marked by ethnic and linguistic heterogeneity issues, and mainly by the enormous range of linguistic diversity due to such heterogeneity, among speakers and in the literature. Chicano literature is an example, and two of the major Chicano works constitute the corpus of this research: Gloria Anzaldúa's Borderlands/La Frontera - The New Mestiza and Rolando Hinojosa's Dear Rafe/Mi Querido Rafa. Besides their own singularities, these two books are marked by linguistic heterogeneity (the writing is based on English, Spanish and Nahuatl, originally spoken in the Aztec empire; the codeswitching, the braiding languages; the transgression of genre boundaries) and defy any attempt of translation based on traditionalist language conceptions. Based on that, we propose an analysis of how the corpus of this research allows new possibilities of thinking translation and the consequences of these analyses for a translation ethics and for the translator (if we can think in such terms). Such analysis is based on concepts and ideas proposed by poststructuralist linguists, translators and translation theorists such as Lawrence Venuti, Kanavillil Rajagopalan, and Alexis Nouss. We also base our study on the works of postmodern thinkers, such as Jacques Derrida, and postcolonialist writers, such as Homi Bhabha / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

Denna kandidatuppsats består av en översättning av sju scener ur librettot till en musikal (Dear Evan Hansen av Steven Levenson, Benj Pasek och Justin Paul) och en översättningsteoretisk kommentar. Kommentaren ger först en kort översikt över musikalgenren och behandlar sedan översättningsarbetet, från källtext till måltext. I kommentaren beskriver jag min översättningsprincip, till vilken jag har använt mig av både Johan Franzons funktionella översättningsperspektiv (Franzon, 2009) och H. S. Drinkers principer (Drinker, 1950). Jag tar även upp de utmaningar och problem som jag stött på under översättningsarbetet och förklarar hur jag har löst dessa. Jag reflekterar också över hur musikallibrettots särskilda egenskaper har påverkat de val jag gjort i min översättning. / This bachelor’s thesis consists of a translation of seven scenes from a musical libretto (Dear Evan Hansen by Steven Levenson, Benj Pasek och Justin Paul) and a commentary of this translation. The commentary first provides a brief overview of the musical genre and proceeds to describe my translation, from source text to target text. The commentary describes my translation principle, which is inspired by the functional perspective of Johan Franzon (2009) as well as the principles of H. S. Drinker (1950). I also deal with the specific challenges encountered during the translation and describe how I handled them, as well as how the specific characteristics of the musical libretto has influenced my translation.

In this study we aimed to investigate the process through which players of video games situate, and form an understanding of their presence within the virtual game environment. This study specifically investigates this process in games played through a first person perspective with the intention of minimising the amount of visual information provided the participants. For this purpose we created two scenarios within a videogame environment specifically design for the study. A total of thirteen participants took part in the study, and after each season a semi structured interview was performed. In a qualitative content analysis we identified patterns and commonalities ascertaining to our line of questioning, and conclude that while the player-presence relationship would appear to be largely dependent on the individual’s type of play, the varying focus on either narratology or ludology in our two scenarios did indeed influence the participants to approach this relationship similarly within the separate groups. Finally we defined four types of player-presence relationship, and how they can be said to relate to the varying ludonarrative dynamics within the two specified genres, as well as the varying types of play observed amongst the participants in our study.

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This thesis is concerned with, in the words of Song of Songs, finding an appropriate answer to Qohelet's vanity - vanity of a human life and things that inherently come with it, as Qohelet himself proclaims in his book. The first chapter introduces the Book of Qohelet and aims to capture the main themes of vanity and transience, while also providing the ways out from this situation, as presented by Qohelet. The second chapter introduces the reader to the Song of Songs book while also describing its content which concerns the interpretation of love between a man and a woman. The third chapter brings forward efforts of the author and the main themes and conclusions of the book are analysed. This allows - in the conclusion of this thesis - to answer the question of whether the love in the Songs of Songs is a possible answer to Qoheleth's vanity - the transience of a human life, as brought out by Qohelet in his work.