This thesis is divided into two main parts. The first part establishes the theoretical framework that served as a guide for my English translation of the short novel La débil mental by Argentinian author Ariana Harwicz, and consists of three chapters. Due to the novel’s narrative style and subject matter, my translation approach was centered on the topic of female madness in literature. Therefore, the first chapter examines feminist theories of translation and their relevance to the project at hand. The second examines the topic of madness in literature, and pays particular attention to depictions of women with mental illnesses in literary works. Then, in the third chapter, I will attempt to draw on the previous two chapters to develop an approach to translating female madness, and examine specific choices made in my translation of La débil mental in that light. Finally, the second main part of the thesis consists of my translation of the novel.

Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear. / This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.

Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear. / This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.

Orientador: Maria Jose de R. F. Coracini / Tese (doutorado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T16:15:35Z (GMT). No. of bitstreams: 1 Schaffer_AnaMariadeMoura_D.pdf: 850073 bytes, checksum: 886933aa9e9040737a3d26a36e661fe0 (MD5) Previous issue date: 2010 / Resumo: A tese, ancorada na perspectiva da Análise do Discurso, em interface com a Desconstrução, investiga e discute a presença de tradução de gênero no contexto brasileiro e as representações de tradução de gênero que emergem no dizer de tradutoras brasileiras. Recortes discursivos selecionados, a partir das respostas de 21 (vinte e uma) tradutoras brasileiras a um questionário de 5 (cinco) perguntas, enviado por e-mail para duas listas de tradução que circulam no Brasil, foram analisados, buscando na materialidade linguística e nas formações inconscientes que nela irrompem, indícios da constituição do imaginário dessas tradutoras sobre tradução de gênero. O pressuposto que sustenta a investigação defende que já há uma prática de tradução de gênero no contexto quebeco-canadense, desde a década de 1970, cuja relação vem sendo discutida e problematizada, sem conflitos. O estudo que empreendemos para compor a fundamentação teórica pautou-se, inicialmente, no interesse de problematizar o encontro entre o feminismo e a tradução, discutindo como a tradução de certos grupos feministas serviu de agenda política para, de alguma forma, subverter a inferioridade sofrida pelas mulheres na escrita tradutora. A análise aponta para os seguintes resultados: há ainda muita resistência quanto à relação gênero e tradução, pelo menos, no que se refere à discursivização sobre o assunto, no Brasil, já que a temática evocou relações com os múltiplos feminismos da história e tudo o que isso simbolicamente representa, incluindo as lutas nele travadas, as resistências aos radicalismos do feminismo inicial e aos rótulos e estereótipos a ele vinculados. Daí que as representações de tradução de gênero que emergem do dizer ou ressoam sentidos de luta social, ou se fixam no domínio técnico da língua ou são imaginarizadas como expressão de criatividade e autoria, mesclando-se para instituir momentos de identificação aliados à singularidade das tradutoras. As tradutoras, quando falam sobre o seu fazer tradutório, defendem o emprego de uma linguagem inclusiva de gênero, por meio de interferências nos textos considerados por elas "machistas", todavia tais interferências ainda parecem estar muito presas ao nível da linguagem. Considerando-se os limites dos registros do corpus da pesquisa, a hipótese de que há vestígios de tradução de gênero no dizer sobre/na prática tradutória de tradutoras brasileiras na atualidade mostrou-se válida, pois não só há vestígios de tradução de gênero no dizer sobre tradução, como também emergiram nos dizeres efeitos de sentido que apontam para uma constituição identitária das tradutoras já inseridas no contexto de um emprego de uma linguagem mais inclusiva nas traduções por elas praticadas. / Abstract: The research anchored in the perspective of Discourse Analysis in the interface with Deconstruction investigates and discusses the presence of gender translation in Brazilian context as well as the representations of gender translation which emerge from the utterances of Brazilian female translators1. The discursive events selected from twenty one female translators' answers to five question sent by e-mail to translator lists (Tradinfo and Litterati) were analyzed, trying to identify through linguistic materiality, elements involved in the constitution of the imaginary of those female translators about gender translation as well as fragments of their unconscious formations, which can reveal some aspects of their subjectivity. The basic assumption of this research is that there has been a gender translation practice in Quebec-Canada context since 1970's where translation and gender has been discussed and practiced normally. The readings and researches we made to support our theoretic foundation were ruled by the interest of problematizing the encounter between translation and feminism, in order to discuss how the translation of some feminist groups has served as a political agenda for subverting the female inferiority by means of translation writing. The results of the analysis points to the fact that there is still so much resistances about the relationship between gender and translation in Brazil, at least as regards to the discursivization process of the theme, since gender translation has evoked relationships with the different feminisms of history and with everything they symbolically have represented, including the struggles and the resistances against radicalisms of the initial feminisms besides the labels and stereotypes connected to them. Thus the representations of gender translation which emerge from the female translators' utterances remit either to the social struggles of feminisms, circulating around the technical dominion of language or they are represented as expression of creativity and authorship. So those representations interweave for constituting identification moments which relate to female translators' singularity. By speaking about their translation itself, the female translators defend the use of a gender inclusive language through interferences on the texts considered by them as "machist text". Considering the limits of the corpus the hypothesis that there are vestiges of gender translation in the Brazilian female translators' utterances is confirmed, since there are no only vestiges as well as the meaning effects which emerged from the utterances point to a female translator who has already been using a more inclusive language in her translations. / Doutorado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

The dissertation studies feminist knowledge production through translation in the context of post-communist Eastern Europe. It focuses on one case study, the Serbian translation of the American feminist health classic Our Bodies, Ourselves (OBOS) through the lens of the politics of translation and reproduction. The translation, Naša tela, mi (NTM), was published by a group of feminist activists from the Autonomous Women’s Centre (AWC) in Belgrade, Serbia in 2001. By focusing on this one case study, my dissertation offers an in-depth analysis of the political, social, linguistic, and feminist dimensions implicated in the transfer of a Western feminist project from one geopolitical location to another, to a post-socialist, post-conflict Eastern European country in the 1990s. Against the background of the Yugoslav wars and the influence of ethno-nationalism in the 1990s, I examine the development of domestic and transnational feminist networking, including the Belgrade feminists’ work with victims of domestic and sexual violence and refugees. I assess the extent to which NTM serves as oppositional discourse to the changing politics of reproduction and pronatalist discourses around abortion and fertility in Serbia in this period. Furthermore, I analyze NTM’s contribution to local feminist knowledge on women’s reproductive health, rights, and sexuality. I emphasize the importance of the local context, including the history of abortion access and traditional gender relations. Methodologically, the dissertation is based on interview data, archival documents, and comparative textual analysis. The dissertation draws attention to feminist knowledge production across uneven geopolitical borders, translation flows across the East-West divide, and the role of English in transnational feminist networking. The dissertation brings together the politics of translation and the politics of reproduction and calls for further studies into the role of translation in transnational feminist patterns of knowledge production.

This study consists of a comparative analysis of two novels (Une si longue lettre and Un chant écarlate) written by the famous female African writer Mariama Bâ and their English translations (So long a letter and Scarlet song) by Modupe Bodé-Thomas and Dorothy Blair. Mariama Bâ’s texts shed light on the different ways in which African women are oppressed by tradition and religion deeply rooted in a patriarchal and post-colonial society. The story of her own life serves as a basis for an effective analysis of both novels in order to determine the extent of her Feminist orientation in her texts, as well as to evaluate the possibilities of female emancipation based on the choices made by her female characters. This study further examines the translation strategies present in the English rendition of Bâ’s novels. Translation involves conveying a message from a source to a target text in a manner that expresses the same message as the original. It also bridges the language and cultural barrier by facilitating understanding between different worlds. In translating Bâ’s novels, the aim is to respect and convey her message of Feminism to an international non-Francophone audience. In order to evaluate whether the translations have achieved the objective of conveying her message, this study will attempt to analyse the translational choices made by each translator as well as to ascertain the success of those choices. This analysis is guided by existing Feminist translation theory. Emphasis is placed on Feminism in general and African Feminism in particular to ascertain Bâ’s own Feminist orientation and how this impacted her writing. This is done firstly by giving a brief synopsis of the two novels. Subsequently, traces of Feminism are identified in both novels, followed by an analysis of the source texts. This is done by applying descriptive models outlined within the framework of descriptive translation studies to compare the source and target texts. This study reveals that despite the many translation strategies that are available, literal/word for word and semantic translations are predominant in the English renditions of Bâ’s novels. The use of these strategies differed in the two translations in question. While Bodé-Thomas preferred a more traditional, literal/word for word translation in her rendition of Une si longue lettre in order to maintain the simplicity of the text and preserve the African aesthetic which is the essence and distinguishing feature of Bâ’s work, Blair opted for a semantic translation which turned out to be an important strategy in her English rendition of Un chant écarlate. Taking the different translational strategies used by Modupe Bodé-Thomas and Dorothy Blair as a case in point, this study proposes that since for the most part, Mariama Bâ’s writing in a European language (French) captures the African content and form and portrays her Feminist beliefs in both her novels, the job of both translators is simply to carry over the same African content and form from the source language to the target language in a similar manner that expresses Bâ’s Feminist beliefs. Key words: Mariama Bâ, Feminism, African Feminism, Feminist translation, descriptive translation studies, post-colonialism, translation studies, autobiography, Dorothy Blair, Modupe Bodé-Thomas, source text, target text, Une si longue lettre, Un chant écarlate, Scarlet song, So long a letter / Mini Dissertation (MA)--University of Pretoria, 2015. / Modern European Languages / MA / Unrestricted

[pt] O presente trabalho se insere na discussão sobre a identificação de fronteiras para o fazer tradutório. Levando-se em conta as teorias pós-modernas sobre a linguagem, busca-se compreender se, mesmo diante de novas concepções de língua, cultura, sujeito e tradução, é possível reivindicar características razoavelmente estáveis para a prática tradutória. Algumas práticas de reescrita que são apresentadas como tradução, mas que, supostamente, subvertem em excesso os textos que lhes precedem representam um desafio ao estabelecimento dessas fronteiras. Neste trabalho, analisam-se três diferentes projetos de tradução que abertamente declaram a defesa de uma agenda política específica, para verificar até que ponto eles se afastam da acepção de tradução como uma representação o mais próxima possível, na língua-alvo, de um texto estrangeiro. Os projetos estudados são: as traduções feministas, as traduções pós- colonialistas e o projeto de tradução minorizante de Lawrence Venuti. Esta análise se presta a verificar as motivações ético-políticas dos projetos em questão e as principais estratégias por eles utilizadas. A busca de um campo conceitual e prático próprio para a tradução está articulada a uma preocupação ética na qual o leitor é o norte das discussões. / [en] This paper was developed in the context of the discussion about the identification of boundaries in translation practice. Taking into account the postmodern theories of language, I try to understand whether it is possible to define, even in face of new conceptions of language, culture, subject and translation, reasonably stable characteristics of the translation practice. Some rewriting practices presented as traslations, but which, in my opinion, subvert excessively the original text pose a challenge for the definition of such boundaries. In this thesis, I analize three different translation projects which openly uphold a particular political agenda, in order to verify to which extent they are distanced from the definition of translation as the closest possible representation of a foreign text in a target language. The projects studied here are: feminist translations, postcolonial translations and Lawrence Venuti´s minoritizing project. This analysis aims at understanding the ethical and political motivations of the projects at issue and their main strategies. The pursuit of a specific conceptual and practical field for translation is linked to an ethical concern at which the reader is the focus of the discussion.

This thesis project is comprised of a partial Chinese translation of The Awakening, a translator’s introduction in Chinese for Chinese readers, and an accompanying critical analysis for my translation. My Chinese translation is guided by feminist translation theory. Its central ideas are that translations should expose and redress gender-based prejudices, challenge and subvert male-dominated linguistic and cultural systems, and promote gender equality in cross-cultural communications. The Awakening is a pioneering feminist novel written by the American author Kate Chopin and published in 1899. It centers on protagonist Edna Pontellier’s gradual departure from her socially conventional roles as a mother and wife and her unfolding awakening to her individuality and sexuality in the late Victorian era. My partial Chinese translation focuses on the gender and sexuality-related excerpts in the novel, which include the depictions of the female body, the Victorian patriarchy, the inner emotions of the protagonist, and the intimacy and sexuality displayed between the protagonist and the male characters in the novel. The translator’s introduction aims to introduce Chinese readers to Kate Chopin and her works and explain the translation interventions I have made in my translation. The accompanying critical analysis discusses my translation approaches and the decision-making process to foreground the feminist themes and convey them to the Chinese readership while preserving the language texture of an English novel from the 19th century in its Chinese rendition.

Denna uppsats undersöker normer för översättning av könskodat språk. Genusvetare menar att könskodat språk inte bara upprätthåller stereotyper om kön utan också förstärker dem. Därför tycker feministiska översättningsvetare att det är viktigt att vara medveten om vilka stereotyper som översättningar överför mellan kulturer. Denna uppsats behandlar stereotyper om kön i japanska serier, så kallade manga. Med hjälp av den översättningsvetenskapliga metoden sammankopplade par jämförs källtexterna och måltexterna med varandra. Resultatet visar att nästan allt det könskodade språket har utelämnats i måltexterna. Trots att detta gör språket mindre stereotypt blir inte alla karaktärer mindre stereotypa. En karaktär är till och med mer stereotyp i måltexten än i källtexten. Detta visar att utelämning förmodligen inte är ett medvetet val av översättaren för att minska stereotyper. Anledningen till utelämningarna verkar istället vara att det är en norm att utelämna en stor del av karaktärers rollspråk. / This essay investigates norms in translation of gender stereotype language. Gender Studies has for many years claimed that gender stereotypes in language not only maintain gender stereotypes but also reinforce them. Because of this feminist translation theorists stress the importance of being aware of what stereotypes translation can and do transfer between cultures. In this essay the gender stereotypes that are dealt with are the ones of characters in Japanese comics, so called manga. With a methodology from Translations Studies, coupled pairs, it compares Japanese source texts with Swedish target texts. The results shows that almost all of the gender stereotype language in the source texts has been omitted in the target texts. Even though this makes the language less stereotype, it does not make all of the characters less stereotype. One character is even more stereotype in the target text than in the source text. This probably shows that the omissions are not a choice made by the translator to reduce stereotypes. The reason for the omissions seems instead to be that it is a norm in translation of manga to omit a certain amount of the character specific language.

[pt] Outros nomes para uma rosa: Zelda Sayre Fitzgerald em tradução toma como objeto de pesquisa a obra literária de Zelda Fitzgerald, colocando em posição de destaque Scandalabra – a única peça teatral completa que sobrevive da autora. Tradicionalmente considerada uma curiosidade literária escrita logo após a tépida recepção crítica e o relativo fracasso comercial de Save Me the Waltz, ou então como uma fonte de conflitos dentro de um período conturbado do casamento dos Fitzgerald, Scandalabra permanece um texto que foi pouco estudado e analisado pela crítica. Uma leitura mais atenta desse texto e sobretudo de suas rubricas e indicações cênicas, no entanto, revela que ali se esconde um exercício fascinante e mesmo inovador da escrita dramática. Além disso, uma leitura mais contextualizada da peça também pode acenar para um esforço concreto da própria autora em aperfeiçoar sua escrita, uma vez que é possível verificar o desenvolvimento de temas e recursos técnicos e estilísticos que vinham sendo exercitados desde os primeiros contos escritos no início da década de 1920. Esta tese, portanto, parte das muitas identidades públicas e autorais construídas por e para Zelda Sayre Fitzgerald para investigar a obra literária dessa mulher tão famosa, tão presente no imaginário popular e, ainda assim, tão estigmatizada e pouco estudada. Ao propor um recorte que considere como objeto de pesquisa os doze contos, o romance Save Me the Waltz e Scandalabra, este estudo almeja uma análise integrada desse conjunto de escritos já publicados em inglês e traduzidos apenas parcialmente em português – uma análise que não é exaustiva e tampouco total, mas que é inédita na medida em que compõe o primeiro estudo da obra de Zelda Fitzgerald ancorado nos Estudos da Tradução. A tese apresenta também uma tradução comentada de Scandalabra, texto até então inédito em português. / [en] Other Names for a Rose: Zelda Sayre Fitzgerald in Translation foregrounds Zelda Sayre Fitzgerald s literary works, putting Scandalabra —the only complete and surviving play the author wrote— at the center of its analysis. Traditionally dismissed either as a minor literary curiosity that followed the lukewarm critical and commercial reception of Fitzgerald s only published novel, Save Me the Waltz, or as a source of domestic conflict during a turbulent, contentious time in the Fitzgeralds marriage, Scandalabra has not yet been subjected to proper study or commentary. A closer reading of it, however, reveals that this forgotten piece offers a fascinating, and even innovative, exercise in dramatic language, especially in its use of stage directions. Moreover, contextualized reading of the play can also point to a conscious effort in Zelda Fitzgerald s development as a writer, as it provides an assessment of the author s development in her craft. This study first discusses the many public identities built by and for Zelda Sayre Fitzgerald and then investigates Fitzgerald s literary works, focusing specifically on her twelve short stories, Save Me the Waltz and Scandalabra, to propose an integrated analysis of this set of writings, published integrally in English and only partially translated into Portuguese. Although neither exhaustive nor total, this study is unprecedented insofar as it composes the first study of Zelda Fitzgerald s work that is anchored on the field of Translation Studies. This thesis also presents an annotated translation of Scandalabra, which had never been translated into Portuguese.