A tradução de uma obra literária a introduz em um novo contexto lingüístico e cultural, renovando os diálogos entre as sociedades. As opções dos adutores na solução de problemas de ordem lingüístico e cultural, as opções dos editores quanto ao formato e à aparência do objeto livro oferecido ao grande público, o teor das críticas dos especialistas são indicadores da maneira pela qual uma cultura se apropria da obra traduzida e revelam a imagem que sociedade receptora tem ou mantém da cultura de origem do texto original. A presente tese de doutorado procura analisar a recepção da obra traduzida de Rubem Fonseca na França por meio da interpretação de material textual e paratextual, atentando para os diversos tipos de leitura realizados dessa obra até chegar ao leitor estrangeiro: leitura da crítica especializada, dos editores e dos tradutores, leitores privilegiados. / The translation of a literary work introduces it into a new linguistic and cultural context, renewing the dialogues between the societies involved. Translators? choices for the solution of linguistic and cultural problems, blishers? options concerning the format and appearance of the book as an object offered to the general public, and the nature of specialists? critiques are indicators of the way the target-language culture appropriates the translated work and they reveal the image that the receiving society has or maintains of the source-language culture. The present Ph.D thesis aims at analyzing the reception of the translations of Rubem Fonsecas?s work in France through the interpretation of textual and paratextual material, considering the different kinds of reading of the work before that of the foreign reader: readings by specialized critics, publishers and translators, these being considered privileged readers.

O presente trabalho visa a expor as principais questões envolvidas no processo de tradução parcial do livro Opium für Ovid: Ein Kopfkissenbuch von 22 Frauen (Ópio para Ovídio: um Livro do Travesseiro de 22 mulheres), de Yoko Tawada. Com vistas ao exercício de traduzir, esta dissertação deve ser entendida como um estudo preliminar sobre a escritora e sua obra escrita em alemão, uma língua estrangeira para ela, que escreve também em japonês. Num contexto de constante migração e, ao mesmo tempo, de negação do Outro e de xenofobia, entende-se como necessária a busca por uma experiência de alteridade. Nesse sentido, esta tradução comentada, do alemão para o português do Brasil, persegue o deslocamento do olhar para uma perspectiva e uma língua estrangeiras, de modo que o texto traduzido propicie uma experiência com o fremd. / This work presents the main issues involved in the partial translation process from German into Brazilian Portuguese of the book Opium für Ovid: Ein Kopfkissenbuch von 22 Frauen (Opium for Ovid: A Pillow Book of 22 Women), by Yoko Tawada. This dissertation should be understood as a preliminary study about the writer and her work written in German, a foreign language to her, who writes also in Japanese, her mother tongue. In a context of constant migration and a growing xenophobia, the experience of foreignness is considered here as necessary. By allowing the translated text to emphasize the displacement from perspectives, the goal of providing this experience with the foreign (fremd) can be achieved through the act of translating.

A proposta deste trabalho é a tradução para o português do romance Les Fleurs bleues, de Raymond Queneau. Trata-se de um romance que oferece resistência à tradução em função do trabalho do autor sobre a língua francesa. Para chegar ao objetivo proposto procedemos a uma historicização da obra de Queneau, de modo a compreendermos seu projeto de inclusão da língua falada na literatura e em todos os campos do conhecimento. A escrita de Queneau é caracterizada por seu estilo impregnado de humor e repleto de elementos de oralidade, em que o significante ganha autonomia: jogos de palavras, trocadilhos, provérbios, rimas, aliterações, o autor lança mão de todos os recursos para sublinhar, com humor, a crise do signo. Procuramos analisar os procedimentos adotados por Queneau e o modo como se manifesta sua escrita em Les Fleurs bleues visando ao estabelecimento de parâmetros que possibilitassem oferecer ao leitor brasileiro uma tradução que lhe permitisse, apesar dos diferentes contextos linguísticos e culturais, uma leitura prazerosa em que ele tenha acesso ao texto de Queneau e acompanhar a narrativa, conservando o jogo de significantes e o humor. Levantamos marcas de oralidade presentes nos sistemas linguísticos francês e português, para chegarmos, finalmente à realização do trabalho tradutório, do qual comentamos as manifestações de oralidade no original e as soluções adotadas para sua restituição em português. / The purpose of this work is the Portuguese translation of the novel Les Fleurs bleues, by Raymond Queneau. It is a novel that offers resistance to translation as a function of author\'s work on the French language. To reach the proposed goal, we proceeded to a historicizing of Queneau\'s production, in order to understand his project for inclusion of the spoken language in literature and in all fields of knowledge. Queneau\'s writing is characterized by his style imbued with humor and filled with elements of orality, where significant gains autonomy: wordplay, puns, proverbs, rhymes, alliterations, the author uses all resources to emphasize with humor, the \"crisis of the sign.\" We have analyzed the procedures adopted by Queneau and how his writing manifests in Les Fleurs bleues in order to establish parameters that offers to Brazilian readers a translation that would enables him, despite the different linguistic and cultural contexts, to have an enjoyable read and to access the text of Queneau and follow the narrative, keeping the work of signifiers and the humor. We studied the marks of orality present in French and Portuguese language systems, to arrive finally to perform the work of translation, which we commented on the manifestations of orality in the original and the adopted solutions for restitution in Portuguese.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-05T19:15:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-26T17:57:11Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Made available in DSpace on 2017-06-26T17:57:11Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Programa de Língua Estrangeiras Modernas, Niterói, RJ / O trabalho traz um estudo e uma tradução comentada de alguns dos muitos retratos escritos pelo duque de Saint-Simon em suas Memórias, que mostram personagens representantes da corte do Rei Louis XIV, na qual o autor viveu por muitos anos. A relevância do estudo do retrato como gênero literário é fundamental para a tradução, uma vez que nele convergem o contexto sociocultural e o estilo singular do autor / This work presents a study and a commented translation of some of the many portraits written by Duke of Saint-Simon in his Memoirs, showing representative characters of King Louis XIV court, in which the author lived for many years. The relevance of studying portrait as a literary genre is fundamental to the translation, since in it converge both the sociocultural context and the unique style of the author

L’image institutionnelle du Romantisme portugais, souvent calquée sur la vision nationaliste des chefs de file de ce mouvement et tournée vers les textes innovateurs, est une image tronquée, partiale et figée. Combinant l’analyse socio-littéraire de quatre œuvres de fiction, représentatives des principales lignes d’affrontement de l’époque en termes de valeurs esthétiques et idéologiques, avec l’analyse historique des traductions, cette étude fait émerger les différents pôles constitutifs du champ littéraire portugais entre 1840 et 1860 et démontre sa complexité polyphonique. On y décèle ainsi, au niveau de “la littérature civique” (symboliquement dominante), incarnée par A Virgem da Polónia, de J.J.R. Bastos, et Eurico, O Presbítero, d’Alexandre Herculano, un conflit entre modèles sociaux et littéraires conservateurs et progressistes. Quant à A Mão do Finado, d’Alfredo Possolo Hogan, elle permet d’éclairer l’émergence de l’”industrialisme littéraire”. Enfin, Maria! Não me mates, que sou tua mãe!, de Camilo Castelo Branco, représente la pérennité de la littérature de colportage et pour son auteur le début d’une carrière de “professionnel des lettres”. La partie finale est consacrée à l’examen de la littérature traduite (raisons du succès ou de l’absence de certains auteurs) et de la méthode de nationalisation que Castilho lui appliqua afin de perpétuer l’ordre institué. / Modeled on the vision of the nationalist movement’s leaders and oriented towards the literary innovative texts, the institutional image of the Portugese Romanticism is a distorted, partial and a static one. Combining the socio-literary analysis of four works of fiction, representative of the main lines of confrontation both for their aesthetic and ideological values, and the historical analysis of book translations, this study brings to the foreground the various constituent poles of the Portuguese literary field between 1840 and 1860 and shows its polyphonic complexity. A conflict between social models and literary conservatives and progressives is therefore depicted through the « civic literature » (symbolically dominant) and incarnated by A Virgem da Polónia, by J.J.R.Bastos, and Eurico, O Presbitero, by Alexandre Herculano. As for A Mão do Finado, by Alfredo Possolo Hogan, it sheds light on the emergence of the “literary industrialism”. Finally, Maria! Não me mates, que sou tua mãe!, by Camilo Castelo Branco, represents the sustainability of the chapbooks and for its author the beginning of a career of «professional of letters». The last section is devoted to the consideration of translated literature (reasons for success or absence of some authors) and the method of nationalization that Castilho applied to it in order to perpetuate the established order.

I denna uppsats undersöks de skevheter, diskrepanser och skillnader som kan uppstå vid en översättning . Källmaterialet som ligger till grund för uppsatsens översättning är en amerikansk ungdomsbok av Ned Vizzini, It’s Kind of a Funny Story (2006). Den teoretiska bakgrunden bygger på bland annat Tourys termer acceptability (acceptans) och adequacy (adekvans) och strategier från Vinay och Darbelnet används vid översättningsarbetet. / The present study examines the discrepancies and differences that occur when translating an American youth novel into Swedish. The novel in question is It’s Kind of a Funny Story (2006) by Ned Vizzini. The theories used for analysis are based on previous research from, among other, Toury and his terms acceptability and adequacy, and the strategies used during the translation were presented by Vinay and Darbelnet.

Little thought has been given to asyndeton in modern texts, including the translated text. In fact, if manuals on French-to-English translation even mention this troublesome case of punctuation, they almost certainly warn the student translator against replicating it in English, even in literary translation. Writing norms would forbid it, they warn. It would be taken as merely a sloppy case of comma use. Although asyndeton is typically considered a faux pas in English, replicating it may not always be a mistake. Inspired by Québécoise author Catherine Harton’s Traité des peaux (an especially asyndetic collection of short stories published in 2015), this thesis aims to study how asyndeton may be successfully translated from French into English in literary texts. To do so, it adopts Sperber and Wilson’s relevance theory, noting how this theory not only accounts for poetic effects but also provides a principle that can guide translators as they seek to replicate these effects. This thesis then uses relevance theory to analyze cases of asyndeton drawn from three stories in Harton’s collection. The study concludes that there are at least six cases where asyndeton may be effectively translated as asyndeton in literary texts.

This thesis is an examination of the effects of translation into French and of adaptation for the stage, in English, on the dialogue of Philip Pullman’s novel Northern Lights (published in North America as The Golden Compass). The study focuses on the speech of Lyra, the novel’s protagonist, in terms of both its linguistic qualities and the functions it supports within the novel and the trilogy of which it forms part, His Dark Materials. The study aims to identify the ways in which not just the linguistic surface of fictional speech is affected by translation and adaptation but also the degree to which the roles played by the dialogue in the source text are reflected or transformed in the different versions. The unusual research design, involving a comparison of the effects of interlingual translation and intermedial adaptation on the same text, consists of two main elements. In the first quantitative section, the relative incidence of three variables is measured for the purposes of identifying how features of spoken style and non-standard variation are treated. This analysis is followed by a detailed qualitative evaluation of a small number of dialogue passages that exemplify the key linguistic features and likely textual functions of Lyra’s speech in the novel. The passages concerned are compared with equivalent stretches of dialogue in the French translation and the theatrical script. The study finds evidence to suggest that Pullman uses dialogue in support of characterisation, plot, and also ideological and intertextual concerns. All of these aspects are affected, in subtle but significant ways, by the different decisions made by the translator and the dramatist in respect of Lyra’s speech. The study also finds that aspects of both user-related and situation-related variation in fictional speech may be worthy of further research.

Esta dissertação propõe uma tradução comentada de um excerto do romance Lenfant multiple, de Andrée Chedid, para o português brasileiro. Inicialmente apresentamos a autora e a obra, desconhecidas do público leitor brasileiro, para em seguida analisar as etapas de tradução e revisão de onze trechos por nós selecionados do original. Tendo como equivalência tradutória a busca pela reescritura do ritmo, sendo ele a organização do movimento da palavra/fala [parole] na escritura (MESCHONNIC, 1999, p. 69) por um sujeito, entendemos que a tradução é reveladora do pensamento da linguagem e da literatura (MESCHONNIC, 1999, p.11), o que nos fez analisar nosso movimento tradutório dos seguintes pontos de vista: o das normas (estratégias) como sendo intrínsecas ao ato tradutório; o da tradução como sendo um intenso exercício de crítica literária; e o do movimento do processo em direção ao Outro que, a nosso ver, é a tradução literária. Para tanto nos baseamos em Toury (1995, p.53), segundo o qual a aquisição de um conjunto de normas é um pré-requisito para o tradutor, uma vez que ele integra um ambiente cultural; em Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) e Britto (2011) para tratarmos do Tradutor-(re)criador: crítico por excelência, trazendo novamente à discussão Meschonnic e Toury; e, por fim, em Lévinas (1971, 1985), Laygues (2004) e outros, que nos levaram a começar a desenvolver o conceito de identidade tradutória: defendemos que o tradutor busca a alteridade para, posteriormente, eliminá-la, proporcionando assim a criação de um Novo Outro (a tradução). À guisa de conclusão, relacionamos o processo criativo da escritura (do original) com o da reescritura (da tradução) e, questionando-nos sobre a tradução comentada em âmbito acadêmico, vemo-la como um instrumento pedagógico, indutor da autoconsciência e da tradução responsável / This thesis proposes a commented Brazilian Portuguese translation of an excerpt of the L\'enfant multiple novel written by Andree Chedid. Initially, we introduce the author and her work, unknown to the Brazilian public, to analyse the stages of translations and reviews of the eleven excerpts selected from the original. Considering the translation equivalence the search for the rhythm rewriting the rhythm being the \"organization of the movement of speech [parole] in writing\" (MESCHONNIC, 1999, p. 69) by someone , we understand that translation reveals the thought of language and literature (MESCHONNIC, 1999, p.11), which made us to analyse the translation movement from the following viewpoints: the rules (strategies) as intrinsic to the translation act; the translation as an intense exercise of the literary criticism; and the movement of the process towards to the Other, which from our perspective is the literary translation. Hence, we rely on Toury (1995, p.53), who consider the adoption of a set of norms as a pre requirement for the translator, since he is part of a cultural environment; on Berman (1995), Zilly (2000, 2011), Campos (2006), Pound (2006) and Britto (2011) to treat the \"Translator-(re)creator: critic par excellence\", bringing back to discussion Meschonnic and Toury; and finally on Lévinas (1971, 1985), Laygues (2004) and others, which led us to start developing the concept of translational identity. We defend the thought that the translator seeks alterity to eliminate it posteriorly, thus enabling the creation of a New Other (the translation itself). To conclude we relate the writing creative process (from the original) with the rewriting (of translation) and questioning ourselves on the commented translation in the academic context, we see it as a pedagogical instrument, conducive to self-awareness and responsible translation

The book Paegŭi Kŭrimja (One Hundred Shadows) written by Hwang Jungeun (Hwang Jŏngŭn) was published in 2010 and translated by Jung Yewon (Chŏng Yewŏn) in 2016 after its success throughout South Korea.  It does not yet exist an official translation in Swedish and therefore, in order to make a comparative analysis about the differences in translation between Korean, English and Swedish, which is the author of the present thesis’ native language, the author have translated a part of the book (pages 1-40) during a course in Korean literature translation into Swedish. This thesis will be specifically focused on how the Korean onomatopoeias in the book have been changed through translation and what difference that creates for the meaning and nuance of the source text. This thesis uses a comparative qualitative method to examine how the onomatopoeias in the book have been affected by the English and the Swedish translations where the author found that there were some onomatopoeias that were more affected by translation than others, whereas omission was found to be the most used translation strategy, which resulted in some loss of nuance, but that no meaning was lost when omitting or changing the onomatopoeias. This thesis also compares the differences of the English and Swedish translations which were also considered to be minimal and disregarding one’s personal stylistic choice, the author found both translations to be appropriate and was therefore also not considered to affect the text in a significant way. The author hopes that further research about onomatopoeias and their place in translation will be studied in the future, as well as translation between Korean-English and Korean-Swedish to further expand and discover the Korean-English and Korean-Swedish literature area.