Orientadores:Maria Viviane do Amaral Veras, Jean-François Massol / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T09:39:01Z (GMT). No. of bitstreams: 1 Neves_CynthiaAgradeBrito_D.pdf: 27804892 bytes, checksum: 048e89d72b041e870a1d6ab6d29175a5 (MD5) Previous issue date: 2014 / Resumo: Esta tese, inserida na área da Linguística Aplicada, em especial, em Linguagens e Educação Linguística, procura discutir historicamente o ser ou não ser gêneros literários e poéticos como gêneros discursivos/textuais, traçando uma discussão teórica com Bakhtin (1990, 2003), Bosi (2000), Combe (1992), Eagleton (1997, 2012), Genette et al (1986), Macé (2004), Marchuschi (2008), Nancy (2004), Schaeffer (1989), Siscar (2010), Soares (2001) e Tezza (2006). Em seguida, a pesquisa assume a perspectiva de uma LA transdisciplinar de acordo com Cavalcanti (1998), Celani (1998), Fabrício (2006), Kleiman (1998), Rajagopalan (2006), Rojo (2006) e Signorini (1998), bem como indisciplinar (Moita Lopes, 1998, 2006) e transgressiva (Pennycook, 2006), com o objetivo de buscar raízes e vínculos transversais com a França, heranças e influências da pedagogia francesa na formação do nosso ensino secundário, sobretudo no século XIX, quando o Colégio Pedro II, a escola modelo, era referência nacional e importava seu currículo dos lycées franceses (Razzini, 2000). Além do Colégio Imperial, fazem parte desse legado também as Congregações Maristas, os Liceus e a Escola Normal. A partir de então, a tese investiga o ensino de Literatura na contemporaneidade, destacando a presença dos gêneros poéticos em currículos e avaliações oficiais estabelecidos pelo Ministério da Educação do Brasil. Nessa etapa da pesquisa, reivindicamos o lugar dos gêneros literários e poéticos nos documentos oficiais que regem o ensino médio nacional. Contrastamos também as avaliações do Exame Nacional do Ensino Médio (ENEM) e do Baccalauréat (bac) francês, sempre atentando para o tipo de formação (competências e habilidades de Linguagens, Códigos e suas Tecnologias) que se almeja dos alunos nessa faixa de escolaridade. Como etapa final, a pesquisa de campo, em consonância com a metodologia de geração de registros e análise crítica dos dados (Moita Lopes, 1994), uma pesquisa qualitativa, subjetivista e interpretativista, de cunho etnográfico (Kleiman, 1998), a partir da observação de um total de 90 horas de aulas de Língua Materna, no Brasil e na França, fazendo-se uso da triangulação: i) o diário de classe e o journal de bord; ii) o questionário dos professores; iii) as avaliações orais e escritas. Na análise do corpus selecionado, atentou-se para currículos e avaliações do Ensino Médio em contraste no Brasil e na França, isto é, observou-se como o ENEM e o bac são trabalhados com os alunos cá e lá; como se realiza o ensino/aprendizagem ¿ seja através da leitura em voz alta ou da escrita ¿ dos gêneros poéticos em sala de aula. Constatou-se que, por detrás dos muros dos lycées franceses e das escolas brasileiras, há muito mais semelhanças nas práticas pedagógicas que diferenças. Tanto cá quanto lá, os alunos procuram burlar os formalismos poético e institucional ao se interessarem pela pessoa do poeta, ao soltarem a voz no rap de protesto, ao interpretarem Rimbaud à sua maneira, ao escreverem poesias com palavras vulgares, ao se deixarem tocar pelo discurso poético: ao (se) ler, (se) dizer, (se) escrever, o aluno-leitor de poesias se coloca no mundo / Abstract: Situated in the field of Applied Linguistics, particularly in the area of concentration Languages and Linguistic Education, this thesis aims at discussing, with regard to history and the shadowing of the Shakespearean wandering "to be or not to be", whether literary and poetic genres are or are not discursive/textual genres. In order to do so, a theoretical discussion will be drawn regarding Bakhtin (1990, 2003), Bosi (2000), Combe (1992), Eagleton (1997, 2012), Genette et al (1986), Macé (2004), Marchuschi (2008), Nancy (2004), Schaeffer (1989), Siscar (2010), Smith (2001), and Tezza (2006). Assuming the perspective of an Applied Linguistics that is transdisciplinary (Cavalcanti,1998; Celani, 1998; Fabrizio, 2006; Kleiman, 1998; Rajagopalan, 2006; Rojo, 2006; Signorini, 1998), indisciplinary (Moita Lopes, 1998, 2006), and transgressive (Pennycook, 2006), the research will seek roots in and cross bonds with France by investigating the influences and heritages of French pedagogy in Brazilian secondary education, especially in the nineteenth century, when the model school Colégio Pedro II was a national reference and imported its curricula from French lycées (Razzini, 2000). Besides the Colégio Imperial, the Congregações Maristas, the Liceus and the Escola Normal also belong to such legacy. Considering it, the thesis investigates Literature teaching in contemporaneity, seeking both to highlight the presence of poetic genres in curricula and official assessments established by the Ministry of Education of Brazil, and to question and claim the place of literary and poetic genres in official documents that rule the national high school. Also, it contrasts the assessments of Brazil¿s National High School Exam (ENEM) and France¿s Baccalauréat (bac), always attentive to the type of training (skills and abilities of Languages, Codes and its Technologies) that students are expected to have in this level of schooling. As a final step, and aligned with a methodology of generating records and critical data analysis (Moita Lopes, 1994), a qualitative, subjectivist and interpretivist ethnographic-orientated field research (Kleiman, 1998) is conducted. The observation of a total of 90 hours of lessons of Mother Tongue, both in Brazil and in France, was carried out using the triangulation technique: i) class record book and journal de bord; ii) teachers¿ questionnaire; iii) oral and written assessments. The analysis of selected corpora took into consideration the curricula and assessments of high school comparing Brazil and France, that is, how the contents of ENEM and bac are worked with students of both countries; how poetic genres¿ teaching/learning process is performed in the classroom - whether through reading aloud or writing. Study results show that, behind the walls of French lycées and Brazilian schools, there are far more similarities than differences in regarding the teaching practices. In both nations, students try to detour themselves from poetic and institutional formalities becoming interested in the poet¿s selfhood, expressing themselves in protest rap, interpreting Rimbaud in their own way, writing poetry with vulgar words, letting themselves be touched by poetic discourse: by reading (themselves), saying (themselves) and writing (themselves), student-readers of poetry place themselves in the world / Doutorado / Lingua Materna / Doutora em Lingüística Aplicada

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.