Premier roman de Margaret Laurence publié en 1960, This Side Jordan oppose monde ancestral et modernité par l'entremise de personnages ghanéens et anglais qui cherchent à affirmer leur identité à la veille de l’Indépendance du Ghana. Cette thèse présente la réflexion traductologique qui a accompagné notre traduction française de ce roman. Ce qui nous intéresse, c'est la pluralité des discours que tiennent les personnages du roman et le transfert de ces discours fictifs en traduction. La question fondamentale qui a motivé cet exercice est la suivante : est-il possible de substituer une pluralité de discours tenus en anglais en 1960 par d'autres discours pluriels tenus en français en 2013 et qui se voudraient identiques? Nous tentons d'y répondre grâce à l'analyse des différents discours qui dominent dans le roman, à de nombreuses illustrations de leur passage en traduction et aux pistes de réflexion proposées par les chercheurs, en traductologie comme dans d'autres disciplines.

Premier roman de Margaret Laurence publié en 1960, This Side Jordan oppose monde ancestral et modernité par l'entremise de personnages ghanéens et anglais qui cherchent à affirmer leur identité à la veille de l’Indépendance du Ghana. Cette thèse présente la réflexion traductologique qui a accompagné notre traduction française de ce roman. Ce qui nous intéresse, c'est la pluralité des discours que tiennent les personnages du roman et le transfert de ces discours fictifs en traduction. La question fondamentale qui a motivé cet exercice est la suivante : est-il possible de substituer une pluralité de discours tenus en anglais en 1960 par d'autres discours pluriels tenus en français en 2013 et qui se voudraient identiques? Nous tentons d'y répondre grâce à l'analyse des différents discours qui dominent dans le roman, à de nombreuses illustrations de leur passage en traduction et aux pistes de réflexion proposées par les chercheurs, en traductologie comme dans d'autres disciplines.

Made available in DSpace on 2015-03-26T13:44:23Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1866007 bytes, checksum: 27c8a4b2ed255141f451727982e3690b (MD5) Previous issue date: 2011-02-22 / This study aims to reflect upon the constitution the formation of the woman subject through the fictional language of two contemporary Canadian novels, Lives of Girls and Women (1971) and The diviners (1973) by Alice Munro and Margaret Laurence, respectively. Having been published in the early seventies, both novels include a series of questions about the search for an identity of its own, according to a new demand which is allied to critical gender studies. Therefore, it constitutes a major factor to this research, the manner in which the narrative protagonists, Del Jordan of Lives of Girls and Women (2001) and Morag Gunn of The Diviners (1993) perform this process. As a strategy, both appropriate the Bildungsroman genre questioning the discourses with which it dialogues. Starting from childhood, when there is both the immersion of Del Jordan, as of Morag Gunn in environments that favor the activity of reading, one realizes that, not coincidentally, both will take the profession of writers in the age coming. From that perspective, discussions about language studies, gender, and female development novels are established to which the approaches of Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), among others will prove as essential ones to rethink the process by which the protagonists go through until the discovery of their subjectivities. / O presente estudo se dispõe a realizar uma reflexão acerca da formação do sujeito mulher por meio da linguagem em um recorte da ficção de duas autoras canadenses contemporâneas, a saber, Lives of Girls and Women (1971) e The Diviners (1973) de Alice Munro e Margaret Laurence, respectivamente. Tendo sido publicados no início da década de setenta, ambos os romances compreendem uma série de questionamentos em torno da busca pela construção de uma identidade própria, atendendo a uma nova demanda crítica que se alia aos estudos de gênero. Portanto, constitui-se como fator preponderante à pesquisa a maneira pela qual as protagonistas das obras, Del Jordan, de Lives of Girls and Women (2001) e Morag Gunn de The Diviners (1993) realizam esse processo. Como estratégia, ambas se apropriam do gênero Bildungsroman visando o questionamento dos discursos com os quais dialogam. Partindo da infância, quando se dá a imersão tanto de Del Jordan, quanto de Morag Gunn em ambientes que privilegiam a atividade da leitura, percebese que, não coincidentemente, ambas assumirão a profissão de escritoras na chegada da maturidade. Inserem, portanto, nessa perspectiva, discussões estabelecidas em torno dos estudos da linguagem, do gênero, dos romances de formação femininos aos quais as abordagens de Chris Weedon (1989), Teresa de Lauretis (1994), Cristina Ferreira Pinto (1990), Sylvia Molloy (2004), Coral Ann Howells (1998), entre outros, se mostrarão preponderantes a fim de se repensar o processo pelo qual as protagonistas atravessam até a descoberta de suas subjetividades.

<p> This dissertation examines explicit and implicit conceptualizations of time and history in four contemporary Canadian novels: Allan Donaldson's Maclean, Joy Kogawa's Obasan, Margaret Laurence's The Diviners, and Lee Maracle's Daughters are Forever. Performing close textual analysis from a posture of 'deliberate empathy,' the author identifies several key textual devices and concepts that signal the texts' alternate ideas about time and history. These include temporal simultaneity, historical multiplicity, and the presence of the past. Drawing on critical work from fields including literary theory, globalization and cultural studies, indigenous studies and anthropology, the author investigates the political significance of the texts' different historical and temporal models. She argues that the way individuals and cultures understand time and history bears significant influence on the ways in which they understand their ethical relationships with and responsibility toward the world around them. The dissertation closes with a call for further engagement with questions of temporality and for continued efforts to link pedagogical activity to struggles for human rights. </p> / Thesis / Doctor of Philosophy (PhD)

Thesis (Ph. D.)--Illinois State University, 2005. / Title from title page screen, viewed on April 16, 2007. Dissertation Committee: Robert McLaughlin (chair), Lynn Worsham, Sally Parry. Includes bibliographical references (leaves 312-331) and abstract. Also available in print.

This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.

This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. Because my argument rests on the contention that The Tempest was created in a world where colonialism was coming into being, I explore the historical context surrounding the moment of the play’s creation and determine, in spite of the contention of many historians and some literary critics to the contrary, the forces bringing colonialism into being were already at play and were having a profound effect. After briefly illustrating the historical roots of several popular themes in The Tempest that postcolonial writers have embraced, I turn to the work of writers and critics from the Third World and the First to show how The Tempest plays a significant role in postcolonial studies.