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Thesis (M.A.)--Ohio State University, 1929. / Includes bibliographical references (leaves iii-vi). Available online via OhioLINK's ETD Center

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-02T13:09:57Z No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-05-02T15:24:13Z (GMT) No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Made available in DSpace on 2016-05-02T15:24:13Z (GMT). No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / O presente procura concretizar a tradução para o português brasileiro de um total de 19 poemas de Robert Frost, de acordo com um projeto de integração dos elementos formais mais característicos de sua poesia na tradução. Para tanto, uma análise da escansão dos versos em inglês é empreendida, tomando por base a obra de Pires-de-Mello (PIRES-DE-MELLO, 2001), para que possa ser feita uma comparação entre as formas de escansão de poesia nas línguas inglesa e portuguesa. A proposta baseia-se na ideia de tradução do ritmo do texto literário de Meschonnic (MESCHONNIC, 1999) e na incorporação de elementos estrangeiros ao texto traduzido de Berman (BERMAN, 2012). Uma apresentação do poeta e de sua obra é feita inicialmente, a ver quais são as características que o definem e que deverão, certamente, ser mantidas quando de uma tradução de seus textos. Entre a apresentação e a análise, uma seção é dedicada à discussão sobre a intradutibilidade da poesia, argumentando em seu favor, ainda que admitindo, como apresentado ao final do trabalho, a possibilidade de uma intradutibilidade tópica ou circunstancial, segundo o termo cunhado por Mário Laranjeira (LARANJEIRA, 1993). _______________________________________________________________________________________________________ ABSTRACT / This study seeks to present a translation into Brazilian Portuguese of 19 poems by Robert Frost, pursuant to a project whose aim is to integrate the formal elements most characteristic of his work into the translated texts. To that intent, the poems have been analysed as to their metrical patterns with the book by Pires-de-Mello (PIRES-DE-MELLO, 2001) as a parametre for comparison. The proposal is based on the idea of translation of rhythm in literary texts by Meschonnic (MESCHONNIC, 1999) and on the ncorporation of foreign elements into the translation by Berman (BERMAN, 2012). With that in mind, a presentation of the poet is made and his work, so that the main characteristics of his poetry, the ones that should be retained in translation can be brought to the fore. Between this introduction and the analysis of formal elements, a discussion on the supposed untranslatability of poetry is included, arguing against it, despite admitting the possibility raised by Mario Laranjeira (LARANJEIRA, 1993) of topical or circumstantial unstranslatability in poetry.

This study provides a contribution to an understanding and an interpretation of Frost's poetry. It emphasizes the relationship between his life with his wife and their children and the thematic content in the poetry.At his mother's knee, Frost learned to look for the two-sidedness of every aspect of life. This dualism of nature and of human nature is the key to understanding his poetry. Humans must be ready both to build and to refuse to build walls, both literally and symbolically.The paper singles out and discusses the central themes in Frost's poetry: communication, escape-return, sexism, fear, and love. Other important themes discussed include: farming, fulfilling household responsibilities, and facing tragedy, death, and old age.Structurally, Frost expressed these themes most often through the use of physical barriers, barriers which were nearly always symbolic of emotional conflicts. It is oftena lack of communication which results in a fear of separation or isolation, and fear is contrasted with security: love and togetherness. The woods and darkness are symbolic of a fear of the unknown, as are the repeated appearances of strangers, tramps, and intruders so frequent in the poems.There are descriptions of actual places and events in Frost's life which inspired many of the poems. The paper points out many of the actual landmarks, e.g., the stone wall which divided the fir trees from the apple orchard, the birch trees, the brooks, paths, woods, and even the red sleigh, each of which were to receive such a prominent place in world literature.The study presents an analysis of Frost's poetic style: his use of balance, contrast of light and dark imagery, and the clashing of antithetical elements which resounds throughout his poetry.It also deals with the less-publicized side of Frost's life, the "darker side," which includes his contemplation of suicide, his threats to members of his own family (sometimes with revolver in hand), and the numeroustragedies in his personal life, including the suicide of his son, Carol.The study includes a treatment of such delicate subjects as Frost's habit of sleeping in his mother's room throughout highschool (for fear of the dark) and his relationship with his secretary-companion, Kathleen Morrison, following his wife's death.The poems are divided into those reflecting Frost's childhood, adolescence, and adulthood. The latter category is the most significant and is comprised of poems reflecting Robert's courtship of his wife (poems of rejection and reconciliation), their marriage, and his life following her death.The overall significance of this study is in that it establishes the important influence Frost's marriage had upon his poetry. In spite of conflict and tensions, the marriage of Robert and Elinor Frost was one that "...rested on a true and deep bond, one that made the poetry possible. Elinor...provided judgment, encouragement, and the necessary faith" to enable Robert to be the creative artist that he was. If it were not for his responsibilities to his family, he might never have overcome his fear of speaking before large groups or have become as endeared to the American public.

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Texte remanié de: Dissertation--Trier, Allemagne--Universität Trier, 2002. / Bibliogr. p. 142-149.

The four poets in this dissertation--Hester Pulter, Anne Bradstreet, Thomas Hardy, and Robert Frost--write poems that resist domestic confinement. In these poems, houses become prisons from which the poet must enact an escape. Pulter, Bradstreet, Hardy and Frost--writers drawn from two sides of the Atlantic and two different centuries--are nevertheless linked by the urge to create poems that will provide doorways to less confined states of existence. They are also linked by the formal strategies they use for the attainment of such poetic release, and by the scale of their rebellion against enclosing structures. All four poets make claustrophobic domestic spaces the topic of their poetry, but rather than writing their objections into the unbounded space of free verse, they mimic the confinement of small rooms in the restrained dimensions of their poems. Rather than discard the enclosure of poetry, they accept its confinement. Their forms of release, then, are more pointed; they emerge at brief instances, as opposed to making wholesale departures. Instead of using their poems to create boundless spaces, unrestricted by walls and ceilings and floors, they use their poems to create rooms similar to those occupied by their personae. In poems such as these, poetic freedom is less absolute than relative to the extent of confinement, and it is made sweeter by the awareness of inescapable limits. / text

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This study seeks to demonstrate that nature provided Frost an objective background against which he could measure the validity of human experience and gain a fuller understanding of it. The experiences examined with reference to the poetry include loneliness, anxiety, sorrow, and hope. Attention is given to the influence of Frost's philosophical skepticism upon his poetry. The study reveals that Frost discovered correspondences between nature and human experience which clarified his perspective of existence. The experiences of loneliness, anxiety, and sorrow were found to relate to Frost's feeling of separation from nature and from the source of existence. The experience of hope was found to relate to Frost's vision of the wholeness and unity of life, a vision which derives from humanity's common source with nature.