Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2017-09-28T17:54:25Z No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) / Made available in DSpace on 2017-09-28T17:54:25Z (GMT). No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) Previous issue date: 2017-02-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The autobiographical and self-written studies constitute a branch of the field of language studies, literature and the arts that has been increasing in recent decades. This genre of writing allows authors to reflect on the experience of writing, to trigger individual and collective memories, and at the same time to reflect on the work itself and literature. Latin American literature has been a fertile field for research with this focus, such as the work of Gabriel Garcia Marquez. The production of this genre presents us with a literary context that encompasses both critical writing and creative writing, in the texts the authors merge different styles of writing, allowing a hybrid text to appear. Reflecting on autobiographical and self-writing, the present research explores these genres where the fictional and historical merge to the example of autobiography, memory, reports, reports, interviews that reveal the subject writer. We take here the work of G. G. Márquez with the focus on the analysis of his autobiography Viver Para Contar (2002). As a complement to our analysis, in the scope of fictional writing we have the works A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) and Crônica de uma Morte Anunciada (1981) that contemplate aspects of Autobiography, collective memory and explore the data from the Colombian context and history. The study of these texts allows us to verify how G. G. Márquez re-elaborates the historicity of his time in the fictional works. From the readings and analyzes, we carried out a reflection on the potential of the autobiographical or self-written, together with the fictional texts, to understand the Latin American historical context and the role of intellectuals who have lived the history of Latin American dictatorships and Who had to reinvent themselves and reelabor strategies of writing and the expression of thought. Our contribution with the present research is that in observing the writing process of G. G. Márquez, we verified that there is a fusion and why not to say juxtaposition between the categories author, character and narrator in the confluence between autobiography, memory and fiction, by what we call autowriting , Being precisely this way of narrating quite expressive in the work of G. G. Marquéz. The theme of this dissertation proposes to reflect on the imbricated relationship between history and literature in the author 's work, a fabric that reveals several layers of the real, imagined, official history and personal memory. It attempts to present the author not only as a constructor of the literary work, but as a constructor of a critical thinking articulating work, social life and contemporary cultural practices together with his hybrid writing that goes from the real to the imaginary, memorialistic, historical, critical , Among other genres that are approaching. In order to carry out this study we reflect on the theories of autobiographical constructions, starting from the definitions of Philippe Lejeune (2008), deepening this theoretical basis, we advance to other approaches, like Paul Ricoeur (2007), Diana Klinger (2012), among others. These theoretical approaches illuminate the corpus selected for this research, as the self-writing in the process of reworking personal memory and the movement of history and its context captured. / Os estudos autobiográficos e da escrita de si constituem-se em uma vertente do campo dos estudos da linguagem, da literatura e das artes cada vez mais crescente nas ultimas décadas. Este gênero de escrita permite aos autores refletirem sobre a experiência da escritura, acionarem memórias individuais e coletivas e ao mesmo tempo refletirem sobre a própria obra e sobre a literatura. A literatura latino americana tem sido um campo fértil para pesquisas com este foco, a exemplo da obra de Gabriel Garcia Márquez. A produção deste gênero nos apresenta um contexto literário que abrange ao mesmo tempo uma escrita crítica e uma escrita criativa, nos textos os autores fundem diferentes estilos de escritas deixando aparecer um texto híbrido. Refletindo sobre autobiográficos e da escrita de si, a presente pesquisa explora estes gêneros onde o ficcional e histórico se fundem a exemplo de autobiografia, memória, relatos, reportagens, entrevistas que revelam o sujeito escritor. Tomamos, aqui, a obra de G. G. Márquez com o foco na análise de sua autobiografia Viver Para Contar (2002). Como complemento para nossa análise, no âmbito da escrita ficcional temos as obras A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) e Crônica de uma Morte Anunciada (1981) que contemplam aspectos da autobiografia e da memória coletiva e captam dados da história e do contexto colombiano. O estudo destes textos nos permite verificar como G. G. Márquez reelabora a historicidade de seu tempo nas obras ficcionais. A partir das leituras e análises realizamos uma reflexão sobre a potencialidade da autobiográfica ou escrita de si, em conjunto com os textos ficcionais, para a compreensão do contexto histórico Latino Americano e sobre o papel dos intelectuais que vivenciaram a história das ditaduras latino-americanas e que tiveram que se reinventar e reelaborar estratégias de escrita e expressão do pensamento. Nossa contribuição com a presente pesquisa é que observado o processo de escritura de G. G. Márquez, verificamos que há uma fusão e por que não dizer justaposição entre as categorias autor, personagem e narrador na confluência entre autobiografia, memória e ficção, por isso denominamos de autoescrita, sendo, justamente este modo de narrar bastante expressivo na obra de G. G. Márquez. O tema da presente dissertação se propõe a refletir sobre a relação imbricada entre história e literatura na obra do autor, um tecido que revela diversas camadas do real, do imaginado, da história oficial e da memória pessoal. Intenta-se apresentar o autor não apenas como um construtor da obra literária, mas como construtor de um pensamento crítico articulando obra, vida social e práticas culturais contemporâneas em conjunto com sua escrita híbrida que vai do real, ao imaginário, memorialístico, histórico, critico, entre outros gêneros que se aproximam. Para realizar este estudo refletimos sobre as teorias de construções autobiográficas, partindo das definições de Philippe Lejeune (2008), aprofundando esta base teórica, avançamos para outras abordagens, a exemplo de Paul Ricoeur (2007), Diana Klinger (2012), entre outros. Estas abordagens teóricas iluminam o corpus selecionado para esta pesquisa, a exemplo das escritas de si no processo de reelaboração da memória pessoal e do movimento da história e seu contexto captados.

A partir des années 1670 et durant tout le XVIIIe siècle, les mémoires écrits par des femmes connaissent, plus que ceux écrits par des hommes, une inflexion notable : passés les troubles de la Fronde, alors que le rôle politique des femmes tend globalement à décliner, ils se recentrent sur la vie privée mais aussi sur le parcours, l’itinéraire personnel de femmes qui créent une forme originale centrée sur la définition de leur identité : on peut bel et bien parler d’une dimension autobiographique. L’influence et la médiation du roman-mémoires jouent un rôle prépondérant dans cette mutation du genre mémorialiste dont les femmes sont les principales actrices, aboutissant parfois à la création originale de textes hybrides entre fiction et diction. Mais ces textes ne se contentent nullement de démarquer le roman-mémoires : empruntant à des influences et traditions multiples, les femmes disent de façon oblique leur désir d’écrire sans pour autant devenir des « femmes savantes » ou des « femmes auteurs ». Elles élaborent aussi des représentations inédites de l’identité féminine, entre soumission et contestation, le plus souvent indirecte, des rôles féminins considérés comme traditionnels à leur époque. La thèse examine les profils sociaux de ces mémorialistes d’un nouveau genre, mais aussi la complexité formelle et énonciative de leurs textes et les représentations ambiguës de la femme et de l’identité personnelle qui s’y déploient. / Starting in the 1670s and throughout the 18th century, memoirs written by women, more so than those written by men, undergo important mutations. After the turmoil of the Fronde, as the political role of women tends to decline, they emphasize private life but also the personal itinerary of women who are thus creating an original form centred on the definition of their identity: these works develop a true autobiographic dimension. The influence and mediation of the memoir-novel play a crucial part in this women-led transformation of the memoirist genre, leading to the original creation of hybrid texts halfway between fiction and diction. But these texts are not mere imitations of the memoir-novel: by borrowing from diverse influences and traditions, women express their wish to write in an oblique manner, without labelling themselves as “learned ladies” or “women authors”. They also construct new representations of the female identity, both submissive and critical, most of the time indirectly, of the female roles which were deemed traditional at the time. The thesis examines the social profiles of this new kind of memoirists, as well as the formal and enunciative complexity of their texts, and the ambiguous representations of women and their personal identity which they develop.

This study examines the strategies used in the translation from French to Swedish of an academic text written in the Central African Republic. It focuses on the two opposing translation strategies of domestication and foreignization as described by Venuti (2017) and investigates whether Venuti’s theory about foreignization as a way of resisting racism and imperialism is applicable to translations beyond the literary field. The source text of the translation is written in a former colony, in the language of the ex-colonizer, which makes it particularly interesting in terms of cultural features and brings to the fore the need of taking aspects related to racist and imperialistic ideas into account. Based on an analysis of the translation situation, several features of the translated text are being examined with regards to translational choices connected to domestication and foreignization. The results show that even though both approaches are employed, domestication is clearly the dominating strategy, and this preference for domestication is often based on an effort to promote the content and the academic value of the source text. In other words: contrary to Venuti’s ideas, domestication rather than foreignization is used as a way of resisting racism and imperialism in this particular case. Because of the narrowness of the text material investigated, no general conclusions can be drawn from this study. Some suggestions are however made at the end about broadening the general translational research framework and blur the line between literal and non-literal translation, as proposed by Vandaele (2015), and about broadening and deepening the research on the translation of non-literary hybrid texts.