O notável talento de Chico Buarque em lidar com as palavras, assim como sua participação nas traduções de suas obras literárias para o inglês, são o fio condutor desta pesquisa de doutorado, em que se investigaram as traduções de Estorvo, Benjamim e Budapeste. A Linguística de Corpus foi utilizada como base metodológica para investigação do corpus de estudo, composto pelas referidas obras originais e traduzidas. Utilizando-se o programa computacional WordSmith Tools, de Mike Scott, foi extraída do corpus de estudo, uma lista de palavras-chave que serviu como ponto de partida para uma análise qualitativa das traduções, focando o aspecto da recuperação da criatividade lexical do autor pelos tradutores. Os resultados desta análise levaram a crer que houve, por parte dos tradutores, Peter Bush, Clifford Landers e Alison Entrekin, um empenho significativo para recriar as supostas intenções semânticas e estilísticas do escritor. Tal conclusão foi corroborada por entrevistas que este pesquisador conduziu com o autor, com os três tradutores e com a editora Liz Calder. A Linguística de Corpus, por sua vez, mostrou-se eficaz não só como metodologia para exploração de um corpus literário, mas também como uma abordagem, na medida em que revelou aspectos das traduções que não se havia cogitado investigar. / Chico Buarques notable talent in dealing with words as well as his participation in the translations of his books into English are the core of this doctoral dissertation, which investigated the translations of Estorvo (Turbulence), Benjamim (Benjamin) and Budapeste (Budapest) into English. Corpus Linguistics was used as a methodological basis for investigating the study corpus, constituted by both original and translated works. With the computer program WordSmith Tools, developed by Mike Scott, a list of keywords was extracted from the corpus, which served as a starting point for a qualitative analysis of the translations. The focus was to investigate if the authors creativity was recovered by his translators. The results led to believe that the translators, Peter Bush, Clifford Landers and Alison Entrekin, made a significant effort to recreate Chico Buarques semantic and stylistic endeavors. This conclusion was corroborated by the oral interviews conducted by this researcher with the author, the three translators and the publisher Liz Calder. Corpus Linguistics, in turn, was effective not only as a methodology to explore a literary corpus, but also as an approach to the extent that it revealed aspects of the translations that were not previously considered worthy of invetigation.

Né à Chicago dans les années 80, le slam apparaît désormais comme un phénomène poétique majeur en France où il tend à être médiatisé et emblématisé par Grand Corps Malade. Au-delà de l’effet de mode et d’un mot dont le sens original - le plus souvent ignoré - mérite assurément d’être explicité, c’est un slam aux contours mouvants, un objet poétique non identifié, qui constitue l’objet de cette thèse. S’il s’avère donc nécessaire de cerner ses points d’ancrage (traditions de poésie orale, relations avec la chanson, le rap), notre propos vise à explorer les enjeux du slam et sa portée en termes néopoétique, néologique et didactique. Il se définit comme poésie orale-aurale, vocale et vivante, et c’est précisément dans le dispositif – les dispositifs – qui le fondent plus que dans les formes très variées qu’il peut revêtir que réside son essence. D’après son fondateur, le slam est « intégrateur » et vise une démocratisation de la poésie. En tant que tel, il est ouvert (alors même que le sens premier du verbe to slam peut être traduit par « claquer la porte ») à une langue actuelle, appréhendée dans toutes ses dimensions et variations (inter et interlinguales). Le slam fait feu de tous lieux, de tous mots, et les slameurs aiment à jouer avec une langue plurielle : démarche colludique dans laquelle ils impliquent un public prêt à entrer dans cette danse avec les mots. A travers ce nouveau positionnement d’auteur-animateur, le slameur se fait tribun et œuvre en faveur d’une libération du verbe susceptible d’ouvrir de nouveaux horizons lexicaux : de fait, la néologie prolifère autour et au cœur du slam. Notre étude en détaille les formes (matrices lexicogéniques) et les fonctions dans un tel contexte. Afin de mettre en lumière les traits d’une poétique en devenir, nous avons approfondi l’œuvre de trois slameurs (Mots Paumés, Souleymane Diamanka, Grand Corps Malade) et proposé comme clé d’analyse le concept de néostyle visant à rendre compte de l’importance de la néologie et de la façon originale dont elle est stylisée/poétisée dans le slam. Il s’agit de mettre en relation la linguistique et la poétique autour de cet objet avant d’en aborder les enjeux didactiques. Partant du constat de l’intégration récente du slam dans les programmes et manuels scolaires, nous interrogeons les modalités et les objectifs de cette didactisation naissante et développons – après l’avoir expérimenté – son potentiel en matière de créativité. S’il tend à être considéré comme un outil d’apprentissage, il peut aussi constituer un objet d’étude à part entière et son exploitation doit intégrer cette dialectique. Menés dans des contextes et avec des publics diversifiés – en quoi le slam est aussi potentiellement « intégrateur » – les ateliers slam sont porteurs d’un double enjeu de renouvellement des pratiques autour de la poésie et d’un renouement avec des pratiques dites « traditionnelles » dont il est susceptible de réactiver l’intérêt. Dès lors que les slameurs assument un rôle de passeurs, il peut enfin représenter une passerelle vers la poésie classique ou vers d’autres pratiques artistiques. / Slam poetry is an emerging literary movement, which originated from the nineteen eighties in Chicago (USA). Due to the success of Grand Corps Malade and audiovisual media coverage the slam movement is developing very quickly in France. However, neither the word “slam” itself nor the kind of poetry called “slam poetry” has been a subject of scientific research yet. The first purpose of this research is to explore these terms (“slam” and “slam poetry”), to show the relationship of slam literature to traditional literary forms like bards and rhapsody or musical genres like rap, and how the slam movement can be considered modern both in lexical terms and in terms of renewing the relations between the poet and his or her audience which is supposed to be the widest possible. The question whether the slam movement can be considered “neopoetic” will thus be discussed in this paper. This thesis demonstrates that the slam movement actually redefines the writer's position: slammers perform their own texts. As a physical and sensual experience, slam is live poetry which can be highly interactive, immediate and theatrical: it aims at involving everybody in a “colludic” way, essentially by means of word games. According to Marc Smith (the founder of the ‘slamming’ concept), slam is to be “integrative”. Slamming opens the door to anyone (whereas “slam” main meaning is “to shut the door with a loud noise”), any kind or form of poetry; it can include any word, even slang or neologisms. A blend of verses and performance, fusion of genres, it can be seen as a laboratory for identity, expression and lexical creativity. In this research, is demonstrated the fact that slam encourages lexical creativity: in the performance texts and also in slam related contexts (flyers or slammers’ pseudonyms for instance), various neologisms playing on different lexicogenic matrixes have been found. This research identifies these processes and the related functions, linking linguistic analysis to stylistic effects. The “neostyle” concept is a key to examine how neologisms are integrated in the slam text and mixed with other figures like metaphors, in a stylistic or poetic way. Therefore, the entire work of three slammers is examined in detail, in order to define their specific poetics and show how neologisms are part of it. The chosen artists are Mots Paumés, Souleymane Diamanka and Grand Corps Malade. Finally and in collaboration with slam artists, workshops have been organized and documented to develop didactic aims focusing on lexical creativity. Slam is about to be integrated in school books and curriculums and slammers are involved in passing their art down, therefore it is important to develop didactic concepts and reflection about it: how slam poetry can be integrated as a project in various contexts, not only as a resource for linguistic purposes, but also as a poetic subject and a possible link between classical poetry and other artistic approaches.

O notável talento de Chico Buarque em lidar com as palavras, assim como sua participação nas traduções de suas obras literárias para o inglês, são o fio condutor desta pesquisa de doutorado, em que se investigaram as traduções de Estorvo, Benjamim e Budapeste. A Linguística de Corpus foi utilizada como base metodológica para investigação do corpus de estudo, composto pelas referidas obras originais e traduzidas. Utilizando-se o programa computacional WordSmith Tools, de Mike Scott, foi extraída do corpus de estudo, uma lista de palavras-chave que serviu como ponto de partida para uma análise qualitativa das traduções, focando o aspecto da recuperação da criatividade lexical do autor pelos tradutores. Os resultados desta análise levaram a crer que houve, por parte dos tradutores, Peter Bush, Clifford Landers e Alison Entrekin, um empenho significativo para recriar as supostas intenções semânticas e estilísticas do escritor. Tal conclusão foi corroborada por entrevistas que este pesquisador conduziu com o autor, com os três tradutores e com a editora Liz Calder. A Linguística de Corpus, por sua vez, mostrou-se eficaz não só como metodologia para exploração de um corpus literário, mas também como uma abordagem, na medida em que revelou aspectos das traduções que não se havia cogitado investigar. / Chico Buarques notable talent in dealing with words as well as his participation in the translations of his books into English are the core of this doctoral dissertation, which investigated the translations of Estorvo (Turbulence), Benjamim (Benjamin) and Budapeste (Budapest) into English. Corpus Linguistics was used as a methodological basis for investigating the study corpus, constituted by both original and translated works. With the computer program WordSmith Tools, developed by Mike Scott, a list of keywords was extracted from the corpus, which served as a starting point for a qualitative analysis of the translations. The focus was to investigate if the authors creativity was recovered by his translators. The results led to believe that the translators, Peter Bush, Clifford Landers and Alison Entrekin, made a significant effort to recreate Chico Buarques semantic and stylistic endeavors. This conclusion was corroborated by the oral interviews conducted by this researcher with the author, the three translators and the publisher Liz Calder. Corpus Linguistics, in turn, was effective not only as a methodology to explore a literary corpus, but also as an approach to the extent that it revealed aspects of the translations that were not previously considered worthy of invetigation.

The paper explores intratextual multilingualism in A Clockwork Orange (ACO) by Anthony Burgess, and in two of its translations - into Czech and German. It analyses 180 words from Nadsat - the invented language in ACO - to reveal how lexical creativity is manifested in translation, i.e. whether and how lexical creativity that is present in the original text is changed in the translations. Changes in lexical creativity are linked to normalisation (a translation universal), and to the functions of the invented language. An existing classification of forms and functions of intratextual multilingualism is applied to invented languages and, in particular, to Nadsat. The analysis of Nadsat and its counterparts in the translations is quantitative, and is conducted using the concordancers AntConc and ParaConc. It examines the frequency of Nadsat words, their distribution throughout the text, and the way their meaning is conveyed to the reader. These data are then used in the comparison of Nadsat and the invented languages that replace it in the Czech and the German translations. The analysis shows that in both translations the number of invented lemmas is lower than in the original, and that in the German translation (UO) the number is significantly lower compared to the Czech translation (MP). In total, MP...

Aquesta tesi és un estudi descriptiu que s'inscriu en un doble àmbit d'anàlisi, discursiu i traductològic. Es proposa un doble objectiu: per una banda, analitzar un conjunt de marques de cohesió franceses en dos tipos de textos diferents (un text polític i un text literari) per tal de mostrar la pertinència d'aquests elements lingüístics en la construcció del sentit; i per altra banda, descriure i comparar les principals estratègies traductores utilitzades en les traduccions castellanes del corpus per recuperar les esmentades marques de cohesió i veure quines en són les conseqüències en el nivell micro i macrotextual.Les marques de cohesió seleccionades per a l'anàlisi són les repeticions, les anàfores pronominals, l'ordre intrafràstic i interfràstic, les elipsis, algunes formes de creativitat lèxica, la puntuació, la unitat et i una sèrie de connectors argumentatius. / This doctoral thesis is a descriptive study which falls into the general framework of discourse and translational analysis. The study has two main aims: on the one hand, it firstly analyses the role of some French cohesive devices in two different types of texts (a political text and a literary one) in order to show how relevant they are to the construction of meaning. On the other hand, the study describes and compares the main translational strategies used in the Spanish target texts to translate these linguistic devices. Moreover, the analysis shows the consequences of these translational strategies both on the microstructure and the macrostructure of the target texts. The cohesive devices we have chosen to analyse include repetitions, pronominal anaphors, order into the sentences, ellipsis, lexical creativity, punctuation, the French conjunction "et" and some discourse markers.