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TRADUÇÃO, LINGUAGEM LITERÁRIA E LINGUAGEM CINEMATOGRÁFICA EM ORGULHO E PRECONCEITO, DE JANE AUSTENRibeiro, Domício Moreira 23 March 2012 (has links)
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Previous issue date: 2012-03-23 / This dissertation is a bibliographical research on translation, novel language and film
language. Its aim is to compare, first, among themselves, three Portuguese language
translations of the novel Pride and Prejudice, by Jane Austen. Then do the
comparison of them with the source text in English. After that, make the confrontation
of the namesake film language, adapted in 2005 and directed by Joe Wright, with the
source language of the literary work. Translations were made by Lúcio Cardoso,
Enrico Corvisieri e Roberto Leal Ferreira. In this research, we presented, first, a
comprehensive theoretical framework of multiple methods and technical procedures
of translation through a timeline that begins in the fourth century AD, with Jerome,
and ends in 1990 with Jacques Derrida. Then we did a collation of the translations
with the original work and a comparison of the film language with the source
language of the novel. With respect to the above-mentioned translators, Roberto Leal
Ferreira made the more literal and semantic translation, because it preserves the
content and form of the source text. Regarding the film language, it is equivalent to
the language of the novel in terms of language levels, though it is more concise
because of the length of the movie, sticking to the crucial aspects of the fictional
story. Conclusion shows that there is no mutual understanding regarding the
definition of translation, nor exist procedures that address and solve all possible
problems that may arise from various situations of translation. The methods and
procedures address the same dichotomies: content and form, word translation and
translation of meaning, fidelity to the author or to the reader, and nationalization or
foreignization. We found that the novel Pride and Prejudice is a valuable laboratory
to practice the technical procedures of translation, considering that various
procedures, such as additions, deletions, omissions, clarifications, borrowings, literal
translations, transpositions, modulations, equivalences and adaptations have been
found in the evaluated translations. The relationship between translation, language of
the novel and film language, often conflicting, is pacific in the collation between Pride
and Prejudice, the movie and Orgulho e Preconceito, considering that the abovementioned
translators and the film scriptwriter were able to bring into the target
language and into the movie language the meanings of the source text without
apparent losses. / Este trabalho consiste, fundamentalmente, numa pesquisa bibliográfica que discorre
sobre tradução, linguagem romanesca e linguagem cinematográfica. Seu objetivo é,
primeiramente, comparar entre si três traduções em Língua Portuguesa do romance
Orgulho e Preconceito, de Jane Austen, e posteriormente cotejá-las com o textofonte
em Língua Inglesa. Em seguida, pretende-se contrastar a linguagem do filme
homônimo, adaptado em 2005 e dirigido por Joe Wright, com a linguagem original da
obra literária. Para tanto, será apresentada, inicialmente, uma fundamentação
teórica que trata dos vários métodos, bem como dos procedimentos técnicos da
tradução, numa linha do tempo que começa no século IV d.C., com São Jerônimo, e
se estende até os anos 1990, com Jacques Derrida. Logo após, realizar-se-á a
comparação das traduções com a obra original e o confronto da linguagem fílmica
com a linguagem-fonte do romance. Com relação às três traduções avaliadas,
pretende-se verificar como os significados da obra original são transportados para a
língua da tradução, sempre cuidando, cada uma a seu modo, para evitar as perdas.
Nesse sentido, com relação aos trabalhos tradutórios de Lúcio Cardoso, Enrico
Corvisieri e Roberto Leal Ferreira, urge atentar para este último, que realiza uma
tradução mais literal e semântica, concernente ao conteúdo e à forma do texto-fonte.
Acerca da linguagem fílmica, é preciso buscar a sua equivalência com a linguagem
do romance em termos de registro, apesar de sua forma concisa, em função da
duração do filme, atendo-se aos aspectos cruciais da obra. Observados tais
aspectos, adianta-se que não haverá uma conclusão definitiva sobre o tema em
debate, considerando não haver qualquer consenso a respeito das várias nuances
que cercam o termo tradução, tampouco existem procedimentos que contemplem,
elucidem e sanem os complexos problemas do ato tradutório. Desse modo, este
trabalho corrobora a assertiva de que os métodos e procedimentos tradutórios, por
mais ousados que sejam, não se afastam das dicotomias: conteúdo e forma,
tradução da palavra e tradução do sentido, fidelidade ao autor ou ao leitor e
nacionalização ou estrangeirização. Ele também se solidariza com a premissa de
que a obra Pride and Prejudice é um valioso laboratório para a prática da tradução,
tendo em vista que vários procedimentos técnicos, como acréscimos, apagamentos,
omissões, explicitações, empréstimos, transposições, modulações, equivalências e
adaptações podem ser encontrados nas traduções avaliadas. E, finalmente, que a
relação entre tradução, linguagem romanesca e linguagem cinematográfica,
geralmente conflituosa, se mostra harmônica no paralelo entre Pride and Prejudice,
o filme e Orgulho e Preconceito, pois os tradutores mencionados e a roteirista
conseguiram trasladar para a língua-meta e para a linguagem do filme, sem perdas
aparentes, os sentidos da obra original.
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Elizabeth Bennet's Intelligence : A Reading of Class and Gender Conventions And Transgressions in Jane Austen's Pride and Prejudice / Elizabeth Bennets intelligens : En läsning om klass- och könskonventioner samt överträdelser i Jane Austens Pride and Prejudice.Abrahamsson, Joffrey Levi January 2015 (has links)
In Pride and Prejudice by Jane Austen, gender roles and gender expectations relate to class differences in a system of social convention which operates to delimit all of the characters - men and women, rich people and less privileged people - to a greater or lesser extent, in a way which reflects actual class and gender structures in England around 1800. The most important strain of social commentary on gender and class in the novel is constituted by the characterisation of Elizabeth Bennet. She is associated with intelligence in a way which is vital to her successful breach of gender and class conventions. This essay starts out from Susan Morgan’s ”Intelligence in Pride and Prejudice” and will extend her arguments in my reading of the novel to prove that Elizabeth’s intelligence allows her to transgress social conventions related to gender and class more successfully than other characters and arrive at a happy ending despite having defied social convention. A number of other characters also represent a breach of class and gender conventions. Lydia Bennet elopes with Mr. Wickham, which at the time was considered scandalous. Mr. Darcy tries to ignore his affection for Elizabeth but fails to do so. In comparison to the unconventionality of Elizabeth, who manages to overcome every obstacle by relying on her intelligence in a way which also benefits Darcy and secures a happy ending for him as well, their transgressions are not as successful. / Sammanfattning I Jane Austens Pride and Prejudice så relaterar könsroller och könsförväntningar till klassskillnader i ett system av sociala konventioner som fokuserar på att begränsa alla karaktärer, t.ex. kvinnor, män, rika och fattiga , till en större eller mindre utsträckning samt på ett sätt som reflekterar faktiska köns och klasstrukturer i England runt 1800-talet. De viktigaste sociala kommentarerna som rör köns- och klassteman i novellen utgörs av Elizabeth Bennets karaktärisering. Hon associeras med intelligens på ett sätt som är betydande för hennes lyckade överträdande mot köns- och klasskonventioner. Denna uppsats utgår från Susan Morgans ”Intelligence in Pride and Prejudice” och kommer förlänga hennes argument inom min läsning av romanen för att bevisa att Elizabeths intelligens tillåter henne att överträda sociala konventioner relaterade till genus och status på ett framgångsrikare sätt än andra karaktärer samt åstadkomma ett lyckligt slut trots att hon utmanat sociala konventioner. Andra karaktärer i romanen representerar också ett överträdande mot köns- och klasskonventioner. Lydia Bennet rymmer med Mr Wickham, vilket under den tiden ansågs vara skandalöst. Mr Darcy försöker ignorera sina känslor för Elizabeth men lyckas inte. I jämförelse med Elizabeth, som genom att förlita sig på sin intelligens lyckas överkomma varje hinder på ett sätt som också gynnar Darcy och även säkrar ett lyckligt slut för honom, så är de andra karaktärernas överträdande inte lika framgångsrikt.
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Concepções de leitura e de leitores em pride and prejudice e sense and sensibility de Jane Austen / Notions of reading and readers in pride and prejudice and sense and sensibility by Jane AustenCampos, Priscila da Silva 21 February 2017 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Jane Austen is an important English writer at the turn of the eighteenth into the nineteenth century. She is praised for her vivid description of the English society, the development of important narrative techniques, and the deep psychological treatment of her characters. In her six novels, Austen discusses social and literary issues that were important in her day. Therefore, Austen’s fiction has been the subject of a wealth of critical studies. Nonetheless, there is an aspect of her fiction that has not been sufficiently studied yet, namely, the notions of reading and readers. Two novels are especially meaningful to discuss this issue: Pride and Prejudice (1813) and Sense and Sensibility (1811). Thus, this study aims to identify and discuss the notions of reading and readers in both novels. The characters/readers of each novel are analyzed with regards to their individual attitude as readers of fictional and non-fictional texts and of the circumstances they live. The analysis enables us to discuss the notions of reading and readers that the author defends or criticizes. We can affirm that this topic was not only an important subject for Jane Austen and the English society, but also an internalized and structuring aspect of her novels. The reading and re-reading process experienced by Austen’s characters allows for their psychological depth once the narrative voice penetrates into the characters’ consciousness or moves away from them in order to comment on and evaluate their attitude as readers. In both novels, the author discusses the process of internalization and subjectivation of reading. Therefore, through the different notions of reading and readers present in Pride and Prejudice and Sense and Sensibility, Austen not only defends the importance of reading and re-reading for the reader’s intellectual and emotional maturity (an issue that is still topical), but also opens up new perspectives for the novel as a literary genre. / Jane Austen é uma importante escritora inglesa da virada do século XVIII para o XIX, aclamada pela vívida descrição da sociedade inglesa, pelo desenvolvimento de importantes técnicas narrativas e pelo aprofundamento psicológico de suas personagens. Além disso, em seus seis romances, Austen discute questões sociais e literárias importantes para sua época. Assim, a obra de Jane Austen possui fortuna crítica extensa. Todavia, há um aspecto de seus romances ainda insuficientemente estudado: as concepções de leitura e de leitores neles elaboradas. Dois romances representativos dessa questão são Pride and Prejudice (1813) e Sense and Sensibility (1811). Em vista disso, este estudo discute as concepções de leitura e de leitores nesses dois romances. A análise das personagens-leitoras, em cada romance, permite perceber suas posturas individuais quanto aos textos que leem e às circunstâncias que vivem, e discutir quais concepções de leitura e de leitor são defendidas ou criticadas pela autora. Conclui-se que a questão de leitura e de leitores era tanto um assunto relevante para Jane Austen e para a sociedade inglesa da época como também um elemento internalizado e estruturante dos romances da autora. O processo de leitura e releitura, com o qual as personagens de Austen estão envolvidas, permite o aprofundamento psicológico das mesmas através da voz narrativa que ora penetra na consciência das personagens ora se afasta delas para comentar e avaliar sua postura como leitores. Nos dois romances, a autora discute o processo de internalização e subjetivação da leitura. Assim, por meio das diferentes concepções de leitura e de leitores presentes em Pride and Prejudice e Sense and Sensibility, Austen defende não só a importância da leitura e da releitura para o amadurecimento intelectual e emocional do leitor (tema ainda de interesse contemporâneo), como também abre novas perspectivas para o romance como gênero literário.
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Stolthet och skvaller : En komparativ analys mellan Jane Austens Stolthet och fördom och Curtis Sittenfelds Sanning och skvaller / Pride and gossip : A comparative analysis of Jane Austen's Stolthet och fördom and Curtis Sittenfeld's Sanning och skvallerLarsson, Johanna January 2019 (has links)
This essay analyses Curtis Sittenfeld’s novel Sanning och Skvaller as an adaption of Jane Austen’s Stolthet och fördom. The purpose of this essay is to take a closer look at how the characters and the plot changes in Sittenfeld’s version compared to the original. The character analysis mainly focuses on Mr. Wickham, lady Catherine de Bourgh and Caroline Bingley as characters, as well as Mary Bennet and how her sexuality is portrayed. Elizabeth Bennet’s relationship with Mr. Darcy and the importance of a proposal and a marriage is also something that this essay analyses. The reception of the novel is something that will be addressed by highlighting some of the negative, and positive, reviews that the novel received upon publication. The discussion at the end brings up whether or not Sittenfelds novel can be classified as an adaption after changing so much of the story, how the elements in the new version changes its believability and how the problematic aspects may ruin the story.
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Love at First Sight? Jane Austen and the Transformative Male GazeGrate, Rachel S 01 January 2015 (has links)
In this thesis, I claim that the gaze is central to the courtship process in Austen’s novels. I also propose that an analysis of the gaze is crucial to understanding the gendered power dynamics that are central to these relationships. We tend to think of male gazers as having all the power, but one of Austen’s subversive arguments is that women can also be subjects of the gaze and transform through it. However, limits exist to their power. As I will argue, while men are able to simply project their transformative gaze, women must first use their gaze to perceive their societal position before successfully having a transformative effect.
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Novel Addiction: Consuming Popular Novels in Eighteenth-century BritainMin, Jayoung January 2011 (has links)
<p>This dissertation explores the ways in which British popular novels of the eighteenth century functioned as commodities. "Novel Addiction", the title of this dissertation has a double meaning: Addiction was a new conceptual framework developed during the eighteenth century in order to manage the increasing anxiety brought upon the culture of consumption, and the novel, one of the most popular commodities of the same period, was addictive. Both as successful commodities and efficient cultural agents, popular novels that were categorized as the sentimental or the gothic participated in the process of creating and disseminating models of addiction that warranted perpetual discipline. However, this discipline does not aim at preventing or eliminating addiction. It rather manages addiction as "habit" in a way that guarantees proliferation of the market economy. By employing the framework of addiction, I intend to reconfigure the role of the novel in the construction of individual and collective models of consumption-oriented subjectivity. </p><p>The first chapter begins with Eliza Haywood's Present for Women Addicted to Drinking where the author proposes novel-reading as the best cure for alcohol addiction, which allows me to explore a parallel between the phenomenon called the "gin craze" and the proliferation of print commodities. The second and third chapter discuss the sentimental novel and the gothic novel respectively focusing on the characteristics of each genre that make them addictive. The fourth and final chapter discusses Jane Austen's Northanger Abbey and Sense and Sensibility, which address and attempt to manage "novel addiction," a problem posed by the popular novels of her contemporaries.</p> / Dissertation
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Autobiografické reflexe v románovém svetě Jane Austenové / Autobiographical Reflections in Jane Austen's Fictional WorldVošmíková, Marcela January 2011 (has links)
This thesis deals with autobiographical reflections in selected novels of Jane Austen. The theoretical part looks into the social, historical, and cultural background in Jane Austen's lifetime. It also gives a general outline of literary genres in the late 18th and early 19th century. The practical part is focused on the analysis of various aspects in six Austen's books within the context of the available information about the writer's life. These novels are: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, and Persuasion. This part deals with the question concerning an extent to which Austen's writing, the fictional worlds of her novels, can be attributed to the influence of her personal life and experience.
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Navigating Heroines Between Scylla and Charybdis: Austen's NarratorsJohnson, Katherine 20 May 2011 (has links)
Jane Austen champions practicality and compatibility versus purely romantic or mercenary sentiment in her novels, and through narrative techniques she preserves her heroines from imprudent marriages. Austen's heroines do not fall madly in love at first sight, but rather they acquiesce to marriage through reason and discernment. She endows her heroines with qualities that make them worthy of her interference in the marriage plot: intelligent although inexperienced, possessed of realistic expectations and sensibility and reason, and, importantly, financial instability. She carefully cultivates heroes worthy of her heroines through plot twists. However, to show her dissatisfaction with the limited roles available to the 19th century woman, she denies the reader the opportunity to witness the wedding that concludes her narratives. The narrator demonstrates her approval or disapprobation by choosing what scenes to narrate and what scenes to dramatize, the latter often representative of her disapproval, her silence signifying her acceptance.
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Fallible Fathers in Jane Austen's Mansfield Park and Pride and Prejudice / Ofullkomliga Fäder i Jane Austens Mansfield Park och Pride and PrejudiceSpurr, Tanja January 2019 (has links)
Using Mansfield Park and Pride and Prejudice by Jane Austen, this essay will show how Sir Thomas and Mr Bennet fail in their role as fathers, related to expectations in the social context, and how their failure is necessary for the eventual marriages of the heroines, Fanny Price and Elizabeth Bennet. The fathers’ failure also leads to the elopement of Maria Bertram and Lydia Bennet. Sir Thomas and Mr Bennet’s failure is the result that comes from their need to counteract the overindulgence of Mrs Norris and Mrs Bennet. Judith Butler’s theory of gender performance will be used in this essay to show how Sir Thomas and Mr Bennet do not conform to their gender, as is shown through their repeated actions in the novels. The gender performance of these characters reveals the need for fluid gender roles for the happy ending.
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La versatilité historique des belles infidèles : étude comparative des traductions de Montolieu et Letorsay du roman Persuasion de Jane AustenCherrier, Ursula S. 05 1900 (has links)
No description available.
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