ŠEMBEROVÁ, DARIA. Comparison of the Polish translation of the novel "Konec punku v Helsinkách" with the original Czech version. Praha: Charles University. Faculty of Arts, 2015. The thesis deals with the issue of translatability of colloquial Czech elements and lexical Germanisms into the Polish language using the comparison of the novel Konec punku v Helsinkách by Jaroslav Rudiš and its Polish translation. The theoretical part briefly discusses the literary work of Jaroslav Rudiš, stratification of Czech and Polish national language, colloquial Czech and its use in literature and literary translation, lexical Germanisms in Czech as well as basic issues of translation of literary works. The practical part of the thesis deals with a critical analysis of the Polish translation of the novel by Jaroslav Rudiš regarding the mentioned aspects. Key words: Czech language, Polish language, common Czech, Germanism, multilingualism, translation theory, adequacy, 21st century Czech literature, Rudiš, Jaroslav

This thesis deals with the question of how vulgarisms are translated in the context of a literary text. First we sum up the theories of expressivity used in both common and literary communication. We point out the main typological differences between Czech and French as well as the key cultural differences in the perception of expressivity. We define the term 'vulgarism' and try to outline the use of substandard language in both Czech and French literature. In the following chapter Michel Houellebecq, his work and the fundamental traits of his writing style are presented. We also look at the reception of the Czech translation of Houellebecq's novel Les Particules élémentaires. Then we analyse the translation, focusing on the transfer of vulgarisms in order to trace and evaluate the translation method used to convey the vulgar elements of the original work.

This thesis is devoted to a relatively little explored issue - the social differentiation of literary characters and the transfer of its linguistic means. The language material for exploring this field of translatology was provided by Döblin's novel Berlin Alexanderplatz (1928) and by two translations into Czech (1935 and 1968). We analyzed utterances of two characters. The first one represents a lower social class and criminal environment. In his speech the analysis showed many elements of Berlin urbanolect which were used for his social characterization. The second character represents the Jewish ethnic group. His direct speech contains elements of literary Yiddish, alluding to his Jewish origins. The subsequent utterance analysis of the first character in Czech translations showed an appropriate use of common Czech as a substitute for Berlin urbanolect in both translations. The analysis was set in the context where the usage of nonstandard elements in Czech and translated literature used to be a convention. Both translators followed these conventions successfully. When translating the literary Yiddish in the direct speech of the second character, significant differences in both translations were discovered. In the first translation the Yiddish elements were not replaced. In the second...

O presente trabalho apresenta uma tradução comentada de dois contos do autor sírio Rafik Schami, exilado desde 1971 na Alemanha. Com uma literatura socialmente engajada e transcultural, Schami propõe em sua obra um amálgama de tradições e traz em questão o debate acerca da diversidade cultural e da convivência entre as culturas. O objetivo de ressaltar na tradução a alteridade do texto de partida somente pode ser concebido por meio de uma reflexão preliminar acerca dos conceitos de cultura e das relações transculturais. Estas questões jogam luz sobre a importância da atitude estrangeirizante de tradução e abrem espaço para uma discussão sobre seu caráter pós-criativo e como ela se alinha ao projeto sociocultural de Schami. / The thesis at hand presents a commented translation of two narratives by the Syrian author Rafik Schami, who has been living in exile in Germany since 1971. By making use of a transcultural and socially-engaged literature, Schami offers in his writings an amalgam of traditions and brings up for discussion the debate about the cultural diversity and the coexistence amongst cultures. The goal of emphasizing the foreignness in the translation may only be achieved through a preliminary thought about the concepts of culture and the transcultural relations. These matters cast light upon the importance of the foreignizing translation practices and also give place to a discussion about its post-creative nature and how it aligns with Schamis sociocultural project.

Observa-se uma tendência nos Estudos da Tradução de tentar estabelecer uma linha de separação precisa entre tradução literária e tradução especializada. Tal separação teria como principal fundamento o fato de a Terminologia, área de grande interface com a Tradução, ocupar-se somente do estudo de textos especializados. Na prática da tradução literária, realizada por tradutores, ou na pesquisa de textos literários traduzidos, feita por estudiosos, percebe-se, no entanto, que as terminologias fazem-se também presentes na literatura. Considerando, portanto, questões terminológicas que ultrapassam as fronteiras do texto especializado e adentram os domínios da arte textual, esta pesquisa tem como seu maior objetivo observar e estudar a relação entre Terminologia e Tradução na literatura. Com a finalidade de diminuir o fosso existente entre os dois tipos de tradução acima citados, mostraremos utilizando-nos das ferramentas fornecidas pela Linguística de corpus que, no discurso, não há fronteiras estanques entre os domínios e que termos são recorrentes em diferentes modalidades textuais, inclusive nos textos literários. / There is a tendency in the Translation Studies an attempt to establish a precise dividing line between literary translation and specific translation . This separation has as its main foundation in the fact that the Terminology, area with a great interface with the Translation, focus only in the study of specialized texts. In the literary translation, done by translators, or in the research of literary texts done by researchers (studious), it is clear, however, that the terminologies are also present in the literature. Therefore, considering terminological issues that go beyond the boundaries of specialized text and enter the text art, therefore this research project has as its main target to observe and study of the connection between terminology and literature translation. In order to lessen the gap between these two types of translation mentioned before, we are going to try to show that in the speech, there is not watertight boundaries between domains and that terms are recurrent in different textual forms, even in literary texts.

Vincenzo Rabito (1899-1981), Sicilien jamais scolarisé, fut l’auteur de deux immenses tapuscrits autobiographiques qui présentent une extraordinaire traversée du XXe siècle italien vu par un membre des classes les plus défavorisées. Dans son écriture qui mêle le sicilien et l’italien, les mots, dont la graphie calque la prononciation, sont séparés par des signes de ponctuation, et les échos de la tradition orale se font sentir dans le propos fortement digressif qui entremêle la vie vécue et la vie imaginée. Notre thèse prend pour objet d’analyse le second tapuscrit en vue d’en proposer une traduction en français. Par le biais d’une réflexion qui a pour fil rouge le rapport à l’altérité linguistique, la recherche se déroule en trois étapes successives. Dans la première, à partir d’une mise en contexte de la vie de l’auteur, de sa langue et de son œuvre, on construit une réflexion sur la « littérature brute », les modalités de sa publication et de sa réception tant en Italie qu’en France, pays caractérisé par un rapport très normatif à la langue. La deuxième étape, tout entière dédiée au texte de Rabito, analyse la langue de l’auteur, ainsi que la structuration et les procédés stylistiques de sa narration. À partir d’une réflexion à propos des dichotomies à l’œuvre dans la pensée de la traduction, la dernière étape se fonde sur les notions d’hybridité et de déplacement pour construire la traduction de Rabito, entreprise subjective à la recherche d’un équilibre entre les spécificités du texte source et l’exigence de lisibilité imposée par la perspective d’une publication. Elle se termine avec une vingtaine de pages traduites extraites du tapuscrit étudié, envisagées comme préalable à une publication future. / Vincenzo Rabito (1899-1981), an unschooled Sicilian, wrote two immense autobiographical typescriptscovering his extraordinary journey through the 20th century in Italy as a member of the most underprivileged social classes. In his writing, which mixes Sicilian with Italian, words are graphically modelled on pronunciation and separated by punctuation marks. The text strongly echoes oral traditions as the discourse becomes digressive, intertwining life and fantasy. The purpose of this thesis is to analyse the second typescript in the aim of translating it into French. Using the relation to linguistic otherness as the main thread, this research falls into three successive parts. The first one uses the life, language and work of the author in context and develop the idea of ‘Outside Literature’; it analyses the publication process and conditions of reception in Italy and in France as well, as the latter is characterised by its highly normative relation to language. The second part which is dedicated to Rabito’s text, analyses the language of the author, the narrative structure and stylistic devices. Questioning the dichotomies which are at work in translation theory, the last part develops the notion of hybridity and displacement to build the translation of Rabito’s text – a subjective project aiming at achieving a balance between the specificities of the original text and the demand for readability required by any prospect of publication. This thesis ends with the translation of twenty pages extracted from the typescript under scrutiny, as a prelude to its coming publication.

Na moderna literatura africana, poucos autores se destacam tanto quanto o dramaturgo, poeta, ensaísta, memorialista e ficcionista nigeriano, de origem iorubá, Wole Soyinka, internacionalmente célebre e ganhador do Prêmio Nobel de Literatura em 1986. Soyinka é conhecido sobretudo como dramaturgo, e seu teatro se caracteriza pelo uso de uma variedade de gêneros literários, formas, linguagens extraliterárias, como a dança e a música, e outros recursos relacionados à cultura iorubá. A obra de Soyinka, escrita em inglês, incorpora tanto elementos das literaturas ocidentais quanto das africanas, e seu inglês é marcado pela constante visitação da oralidade iorubá em provérbios, metáforas e fragmentos de poemas tradicionais assim como sua dramaturgia incorpora elementos do teatro tradicional de seu povo. Acima de tudo, seus enredos, que incluem temas atuais como corrupção, lutas por poder e conflitos entre o indivíduo e seu grupo, estão alicerçados na visão de mundo e cosmogonia iorubá, contendo ainda diversas referências mitológicas e rituais. Em outras palavras, Wole Soyinka se caracteriza, antes de tudo, como um escritor iorubá, cuja obra, cosmopolita em seus temas e conflitos, encontra suas raízes e enquadramento filosófico na visão de mundo de seu povo. É nessa forte presença de elementos iorubás que se encontra um dos maiores interesses das obras de Wole Soyinka para o Brasil. Sabemos que, nos últimos tempos, está havendo uma considerável valorização de elementos de origem africana presentes na cultura nacional, dentre eles, os encontrados nas religiões de matriz africana, que se mostram verdadeiros repositórios de mitos e símbolos de grande riqueza semântica. Tais mitos e símbolos presentes nessas religiões são majoritariamente de origem iorubá. Ler a obra de Soyinka no Brasil, portanto, é buscar uma nova forma de se relacionar com esses elementos e de valorizá-los em sua dimensão literária. Entre as peças de Wole Soyinka, a mais conhecida é provavelmente Death and the King’s Horseman, publicada em 1975 e com diversas realizações teatrais na Nigéria, Estados Unidos e Reino Unido. Baseada em uma situação real na Nigéria colonial, em que um costume do povo iorubá entrou em conflito com a ordem britânica, tal peça é aquela em que visão de mundo e mitologia iorubá estão mais bem articuladas com uma linguagem rica em gêneros e fragmentos da literatura oral iorubá, sendo particularmente proveitosa para uma aproximação cultural. Esta tese oferece uma análise da peça baseada em noções da cultura, da mitologia e da visão de mundo iorubá e nas teorias estéticas e metafísicas do próprio Wole Soyinka. Destacam-se nesta análise os aspectos simbólicos, míticos e metafísicos, assim como os estéticos. Essa análise é precedida de um estudo sobre dimensões da cultura iorubá importantes para o entendimento da peça, tais como história, religião, mitologia, filosofia e artes. Em seguida, as teorias estéticas de Wole Soyinka são estudadas sobre o pano de fundo das discussões literárias vigentes na África no período em que Soyinka engendrava tais teorias. É a partir desses elementos que a peça é analisada. Acima de tudo, esta tese oferece uma tradução de Death and the King’s Horseman que busca valorizar seu conteúdo lírico, suas várias linguagens e suas perspectivas filosóficas, com base nos estudos que foram feitos nos capítulos precedentes, concluindo a tese com observações sobre o processo de tradução. / In modern African literature, few authors stand out as much as the Nigerian playwright, poet, essayist, memorialist, and novelist, of Yoruba origin, Wole Soyinka, internationally acknowledged as the winner of the 1986 Nobel Prize for Literature. Soyinka is known above all as a playwright, and his theatre is characterized by the use of a variety of literary genres, forms, extra-literary languages, such as dance and music, and other resources related to Yoruba culture. Soyinka’s work, written in English, includes elements from both Western and African literatures, and his English is marked by the constant presence of Yoruba orality in proverbs, metaphors and fragments of traditional poems as much as his dramaturgy embodies elements of the traditional theatre of his people. Above all, his plots, in such current themes as corruption, struggle for power and conflicts between individual and the community, are stippled on Yoruba worldview and cosmogony, containing as well many mythological and ritual references. In other words, Wole Soyinka characterizes himself, above all, as a Yoruba writer, whose work finds its roots and philosophical framework in the worldview of his people. It is in the strong presence of Yoruba elements in virtually all the ambits that we find one of the greatest interests of Soyinka’s works for Brazil. It is well-known that, in later years, there has been an increasing valuation and interest for elements of African origin in national culture, including those found in African-Brazilian religions, which are actually pools of myths and symbols of great semantic wealth. These myths and symbols found in those religions are, in their majority, of Yoruba origin. Reading Soyinka’s works in Brazil, therefore, is a way of relating to these elements and valuing them in their literary dimension. Among Soyinka’s works, the best-known is probably Death and the King’s Horseman, published in 1975 and with many productions in Nigeria, the United States and the United Kingdom. Based on an actual event that took place in colonial Nigeria, in which a Yoruba native habit conflicted with the British rule, this play is the one in which Yoruba mythology and worldview are best articulated with language that is rich in genres and fragments of Yoruba oral literature, being particularly fruitful for a cultural encounter. This dissertation offers an analysis of the play base on notions of Yoruba culture, mythology, and worldview and on Soyinka’s own aesthetic and metaphysical theories. This analysis highlights the symbolical, mythical and metaphysical, as well as aesthetic aspects. It is preceded by a study on important dimensions of Yoruba culture for the understanding of the play, such as history, religion, mythology, philosophy and arts. After that, Wole Soyinka’s aesthetic theories are studied against the background of the current literary discussions in Africa at the time. It is from these elements that the play is studied. Above all, this dissertation offers a translation of Death and the King’s Horseman that values its lyrical content, its many artistic languages and its philosophical perspectives based on the studies conducted in previous chapters and concluding with observations about the translation process.

Esta dissertação apresenta uma tradução comentada de Bahia, um capítulo da obra Xangô. As religiões afro-americanas. Bahia, Haiti, Trinidad (1976), do autor alemão Hubert Fichte, obra ainda inédita no Brasil. O objetivo consiste em propor uma atitude recriadora da escrita fichteana sob a perspectiva diferenciada de quem traduz, mantendo as características do texto-fonte e a marca poética na análise etnográfica, e pela adoção de uma atitude tradutória estrangeirizante, trazer visibilidade para o tradutor. Além disso, a tradução serve como um exercício de análise e crítica da obra, e, por meio de escolhas e justificativas de decisões tradutórias, são revelados os bastidores do processo de tradução. / This master thesis presents a commented translation of Bahia, a chapter of Xangô. As religiões afro-americanas. Bahia. Haiti. Trinidad (1976) by the German author Hubert Fichte a work still unpublished in Brazil. The aim of this thesis is to propose a recreative attitude of the fichtean writing under a differing perspective of the individual who translates, maintaining not only the characteristics of the source-text but also the poetic features in the ethnographic analysis. The work also intends to provide visibility to the translator by adopting a foreign translating posture. In addition, translation itself serves as an exercise of analysis and critique of the work, and through choices and justifications of translating decisions, the underlying efforts of the translation process is revealed.

Este trabalho apresenta uma tradução crítica da narrativa Die Reisebegegnung (O encontro de viagem), da escritora alemã Anna Seghers. Através dessa tradução, discute-se o ato de traduzir, questionando-se o modelo de tradução predominante no mercado editorial, que exige textos fluentes, nos quais se apagam as marcas de estrangeiridade. Esta dissertação propõe uma alternativa ao modelo: destacar o caráter estrangeiro da obra em vez de tentar apagá-lo, proporcionando ao leitor uma experiência com o texto estrangeiro que vá além do conteúdo e chamando sua atenção para questões de linguagem. Isso confere maior espaço e visibilidade para o trabalho criativo do tradutor, explícito aqui por meio do aparato crítico que acompanha a tradução. Essa alternativa se sustenta principalmente nas ideias de Friedrich Schleiermacher, Lawrence Venuti e Antoine Berman, que defendem a tradução chamada de estrangeirizadora, isto é, aquela que abre e garante espaço para o estranho (estrangeiro, fremd) no texto de chegada. / This work presents a critical translation of the narrative Die Reisebegegnung (The travel encounter), by the German writer Anna Seghers. Through this translation, the act of translating is discussed, questioning the translation model predominant in the publishing market, which requires fluent texts and in which the foreignness marks become extinguished. This dissertation proposes an alternative to the model: highlighting the foreign aspect of the work instead of trying to delete it, providing the reader with an experience of the foreign text that goes beyond the content and drawing his/her attention to language issues. This procedure gives more room and visibility to the creative work of the translator, made explicit here through the critical apparatus following the translation. Such an alternative is supported mainly by the ideas of Friedrich Schleiermacher, Lawrence Venuti and Antoine Berman, who defend the so-called foreignizing translation, i.e., the one that makes and warrants room for the strange (foreign, fremd) in the target text.

Este trabalho trata da tradução do conto Der blinde Geronimo und sein Bruder (1900) [O cego Geronimo e seu irmão] de Arthur Schnitzler segundo a abordagem de Jií Levý. O primeiro capítulo analisará a teoria geral da tradução literária descrita pelo teórico tcheco em sua obra Die literarische Übersetzung Theorie einer Kunstgattung [A tradução literária teoria de um gênero artístico] de 1963. No segundo capítulo haverá a leitura crítica do conto. O terceiro capítulo trará a tradução do conto na íntegra. O quarto, os comentários, os quais visam esclarecer as decisões do tradutor. / This work deals with the translation of the tale Der blinde Geronimo und sein Bruder (1900) [Blind Geronimo and his brother], written by Arthur Schnitzler, according to Jií Levýs approach. The first chapter will examine the general theory of literary translation described by the Czech theoretician in his book Die literarische Übersetzung Theorie einer Kunstgattung (1963) [The literary translation theory of an artistic genre]. The second chapter will comprise a critical reading of the tale. The third chapter will bring the translation of the tale in full. The forth will present the notes, which aim to clarify the translators decisions.