Cette étude porte sur le discours en paraboles mis en récit au chapitre 13 de l’évangile selon Matthieu. Elle interroge la manière dont ce corpus défend un certain nombre de valeurs auprès des lecteurs. Dans un premier temps, la recherche établit les principaux axes d’interprétation de Mt 13 : sources rédactionnelles, structure, auditoires et fonction des paraboles. Cet état de la question invite à lire Mt 13 selon la relation dynamique qu’il nourrit avec le lecteur. Une exégèse synchronique, puis diachronique, propose dans un deuxième temps de préciser la question des valeurs, de la poser à partir du langage parabolique et de son sujet-Royaume des cieux. Dans un troisième temps, la méthode d’analyse développée par Vincent Jouve (Université de Reims) est appliquée à Mt 13 : issue de la sémiotique narrative, elle vise àdéterminer l’effet-valeur d’un texte, c’est-à-dire son système idéologique. L’étude met ici en évidence une valorisation du désir porté par le paraboliste, une vérité du texte située au plan existentiel. Une relecture du discours en termes d’effets est alors proposée et mesure l’effet parabole en texte puis hors texte. Délogé de son système idéologique habituel, le lecteur de Mt 13 est en effet conduit dans sa lecture à s’exposer aux paraboles qui, par l’imaginaire déployé, deviennent de véritables conductrices de réel. Les résonances, issues de l’interaction entre texte et lecteur, éveillent à une expérience parabolique dont le langage ne peut pas totalement rendre compte mais dont le récit garde les traces. L’espace susceptible d’être creusé par ce discours au cours de son appropriation par le lecteur peut ainsi devenir terre d’accueil pour "la parole du Royaume". / This study deals with parables’ discourse related in chapter 13 of Matthew’s Gospel. It questiones the way this corpus presents some values to the readers. In the first part, the research establishes the main interpretation’s axes of Mt 13 : redaction and sources, structure, attendances and parables’ fonction. This state of the art proposes to read Mt 13 following a dynamic relation with the reader. In the second part, a synchronic exegesis, then a diachronic exegesis are proposed and both specify the question of values based on the parabolic language and his theme, the Kingdom of heaven. In the third part, Vincent Jouve’s method of analysis (University of Reims) is applied to Matthew 13 : on the basis of narrative semiotic, it aims to determine the value-effect of a text, i.e. its ideologic system. At this stage, the study highlightes the desire’s valorization expressed by the parabolist, i.e. a truth of existential nature led by the story. A re-reading of the discourse in terms of effects is then proposed and measures the parable effect in text and out of text. Excluded from his usual ideologic system, the reader of Matthew 13 must indeed be confronted to parables : these promote the imaginery and make discover the real. Touched by the text, the reader can live a parabolic experience. This experience cannot be totally included by the langage but it leaves clues in the story. During the appropriation work of the reader, a meeting with the text can happen and "the word of Kingdom" can be received.

This study examined four different settings in Selma Lagerlof’s novel Jerusalem, part I and II. The aim of the study was to analyse the narrative perspective in the four selected scenes of the novel, and also to investigate whether the narrator’s tone in any of the passages could be said to express orientalism. The material consisted of four text passages describing the novel’s two main geographical locations (the district of Dalarna and the Holy Land). Literary theories used for the study were narratology and postcolonial theory. The applied method to analyse the passages was to use the selection of semantic and syntactic markers compiled by Staffan Hellberg (1985) for stylistic analysis of the narrator’s perspective in Swedish narrative texts. The results of the study show that the overall narrative perspective in the scenes are non-focalized, and that the most frequently featured stylistic markers consist of words and phrases expressing value. A summery of the most frequently used stylistic markers show that it is possible to divide the narrative tone into four categories, as the “presenting”, “sympathizing”, “demonstrating” and “educating” narrator. The results also indicate that orientalism is evident in the two analysed passages from Jerusalem, part II.

La difficulté de lecture de Una meditación a été soulignée tant par la critique que par Juan Benet lui-même. Ce travail essaie de caractériser cette difficulté et, par ce biais, la spécificité de l’expérience de lecture du roman de Benet. Notre étude s’appuie sur la psycholinguistique de la compréhension des textes, qui nous permet de définir la norme de lisibilité implicite par rapport à laquelle Una meditación est jugé « difficile ». Nous étudions les deux aspects qui, par rapport à cette norme, constituent les principales sources de difficulté du texte bénétien : la disposition de la matière romanesque (au niveau du récit et de la phrase) et le système de référenciation des personnages. Sur le plan de la disposition, le récit et – à son échelle – la phrase se caractérisent par une forte discontinuité pourtant dissimulée, par un développement temporel de forme spirale, et par le brouillage des relations hiérarchiques entre les événements. Sur le plan de la référenciation, la notion de nom du personnage perd son sens traditionnel, car les noms sont peu employés, ambigus, multiples, ou inexistants ; mais c’est surtout l’omniprésence de la référenciation pronominale qui déroute le lecteur en lui exigeant implicitement de ne pas oublier un seul détail du texte. Nous analysons aussi la figure du narrateur et nuançons une lecture courante selon laquelle le texte serait le produit d’une remémoration. Nous concluons que la « difficulté » de Una meditación semble être au service d’une écriture qui, à travers l’indifférenciation des personnages et des histoires, dépasse la fiction et vise un portait générique de la nature humaine. / The difficult nature of Una meditación has been highlighted by both scholars and Juan Benet himself. This dissertation characterizes such a text complexity and thereby the singularity of the reading experience of Benet’s novel. Our work relies on the psycholinguistics of reading comprehension. This framework allows us to achieve a definition of standard readability to which Una meditación is implicitly compared when judged as “difficult”. We study the two features that revealed to be the main sources of reading difficulty in Benet’s text: the narrative and sentence structures, and the particular system of reference to the characters. At the level of the text structure, the narration and—at its own scale—the sentence are characterized by a strong discontinuity, however concealed; by a spiral temporal development; and by the scrambling of the hierarchy of the fictional events. At the level of character reference, the notion of name of the character loses its traditional meaning. Names are barely used or these are ambiguous, multiple, or inexistent. However it is above all the omnipresence of the pronominal reference that disconcerts the reader, implicitly imposing memorizing every detail of the text. We also analyze the figure of the narrator, and criticize a common reading of Benet’s novel in which the text is the produce of a recollection. We conclude that the “difficulty” of Una meditación is the result of a writing that, by means of the indiscernibility of the characters and their stories, goes beyond literary fiction and aims at a generic portrait of human nature.

The thesis focuses on how literary texts of the so called "great tradition" can become parts of contemporary pop culture based on intertextual connections (a wide variety of them from explicit quotation to loose inspiration by the original) with the historical canonical texts, and especially on the changes occurring during such actualization in the narrative categories (storyline, space, time, characters, narrator). The theoretical part defines the concept of adaptation and related terms of intertextuality and intermediality and specifies relevant narrative categories. The analytic part focuses on two literary "giants", William Shakespeare to represent male literary oeuvre and Jane Austen as a representative of female writers' tradition, to show particular narrative modifications by comparing the original versions with their modernized adaptations that function as their pop cultural counterparts.

A partir da versão para a língua inglesa de dez contos da obra Ainda Orangotangos do autor gaúcho Paulo Scott (2003), este trabalho tem como objetivo realizar uma análise parcial do processo tradutório no que tange elementos culturais e narratológicos. Para realizar tal análise, foram contempladas três áreas de estudo: a Literatura Comparada, os Estudos da Tradução e a Narratologia. A Literatura Comparada abre as portas para a interdisciplinaridade aqui proposta e valida a tradução literária como seu objeto de estudo, visto que, de acordo com Carvalhal (2003), uma tradução literária pode ser considerada material criativo, na medida em que também constitui em um esforço criativo. O primeiro capítulo trata das questões culturais muito exploradas nos Estudos da Tradução. Martínez (2001), Newmark (1988) e Aixelá (1996) propõem algumas definições e classificações de elementos culturais úteis para reflexão, enquanto os dois últimos, além de Venuti (1992) e Sun (2012), apontam possíveis abordagens para a tradução destes elementos. Apesar de simpatizarmos com as propostas de Aixelá (1996) e Venuti (1992) de propagar o estranhamento em detrimento da domesticação, a proposta de Sun (2012) de equilibrar momentos de precisão e aceitabilidade foi considerada mais próxima de uma tradução realista. Por fim, Aixelá (1996) concebe um conjunto de técnicas de tradução que serão utilizadas aqui a fim de alcançar tal equilíbrio nas versões. O segundo capítulo trata das questões narratológicas e propõe um diálogo entre Narratologia e Estudos da Tradução. Autores como O'Sullivan (2003), Cavagnoli (2008), Nunes (2012) e Boase-Beier (2014) afirmam que o tradutor é leitor e (re)escritor do texto a ser traduzido, e que tal leitura precisa ser diferenciada, visto que questões de narrativa são tão importantes quanto as culturais para conceber o texto literário como um todo. Para fazer essa leitura, propomos a utilização de conceitos da Narratologia de Genette (1980) e Bal (2007). Traduzir é, portanto, uma tarefa interpretativa e transpõe não só o sentido, mas também a forma desse sentido. / Based on the translation of ten short stories from the book Ainda Orangotangos by Paulo Scott (2003) into English, this research aims at carrying out a partial analysis of the translation process regarding cultural and narratological elements. In order to carry out this analysis, three fields of study were contemplated: Comparative Literature, Translation Studies and Narratology. Comparative Literature makes such interdisciplinarity possible and validates literary translation as its object of study since, according to Carvalhal (2003), a literary translation can be considered creative material to the extent that it also constitutes creative effort. The first chapter addresses the cultural issues much explored by Translation Studies. Martínez (2001), Newmark (1988) and Aixelá (1996) propose some definitions and classifications of cultural elements useful for reflection, while the latter two, Venuti (1992) and Sun (2012), indicate possible approaches for translating these elements. Even though we appreciate the proposition by Aixelá (1996) and Venuti (1992) that foreignization should be propagated at the expense of domestication, the proposition by Sun (2012) of balancing accuracy and acceptability was considered better aligned with a realistic translation. Finally, Aixelá (1996) develops a set of translation techniques that are going to be employed to achieve such balance. The second chapter discusses the narratological issues and proposes a dialogue between Narratology and Translation Studies. Authors such as O'Sullivan (2003), Cavagnoli (2008), Nunes (2012) e Boase-Beier (2014) state that the translator is both reader and (re)writer of the text to be translated, and that such reading has to be deeper since narrative issues are as important as the cultural ones to conceive a literary text as a whole. In order to perform such special reading, we propose employing the narratological concepts by Genette (1980) and Bal (2007). Translating is therefore an interpretative task and transposes not only meaning, but also the form of that meaning.

O objetivo da tese é estudar o narrador do romance A Menina que Roubava Livros, publicado em 2005 pelo autor australiano Markus Zusak. A história enfoca Liesel Meminger, uma menina de nove anos adotada por um casal alemão que, não sendo entusiasta do regime Nazista, esconde um Judeu em seu porão durante a Segunda Guerra Mundial. A imagem da morte como narrador é a principal característica da obra de Zusak, que apresenta uma entidade coletora de almas que observa as experiências de Liesel e tece comentáros sobre os seres humanos. A fim de analisar tal narrador, esta dissertação se apóia em estudos de Carl Gustav Jung, Gilbert Durand e, em certa medida, em Sigmund Freud. Também utiliza premissas teóricas do campo da narratologia, tendo Gérard Genette e Mieke Bal como principais vozes representativas. A dissertação está dividida em três capítulos. O capítulo 1 oferece um panorama acerca da construção da morte enquanto imagem arquetípica, enquanto personificação e enquanto narrador. Nesse capítulo, as perspectivas teóricas de Jung, Durand, Genette e Bal são prevalentes. O objetivo é entender como a morte é representada como ideia e como imagem. O capítulo 2 foca nas implicações da morte. Assim, analiso a morte de indivíduos, a pulsão de morte (que toma de assalto muitas das personagens), a morte em massa e a morte social como uma consequência direta da guerra. O objetivo desse capítulo é visualizar a morte como um tema. Para tanto, são aplicados alguns conceitos freudianos, como pulsão de morte e melancolia. O capítulo 3 oferece uma leitura narratológica do romance, ao relacionar a morte aos aspectos de focalização, tempo e espaço. O obejtivo do último capítulo é analisar como a morte se posiciona enquanto observador dos fatos narrados. Na conclusão, apresento minhas considerações finais acerca da utilização desse peculiar narrador em A Menina que Roubava Livros e seu papel na construção do romance e na formulação do tom da narrativa. / The aim of this dissertation is to study the narrator of the novel The Book Thief, published in 2005 by the Australian author Markus Zusak. The story centers upon Liesel Meminger, a nine-year old girl fostered by a German couple who are not enthusiasts of the Nazi regime and hide a Jewish man in their basement during World War II. The image of death as the narrator is the main feature in Zusak’s novel, which presents a soul collecting entity who observes Liesel’s experiences and makes comments about the human beings. In order to analyze such narrator, the dissertation relies on studies by Carl Gustav Jung and Gilbert Durand and, to some extent, to Sigmund Freud. The dissertation also borrows theoretical assumptions from the narratological field, having Gérard Genette and Mieke Bal as its main representatives. The dissertation is divided in three chapters. Chapter 1 offers an overview about the construction of death as an archetypal image, as a personification and as a narrator. In this chapter, the theoretical perspectives of Jung, Durand, Genette and Bal are prevalent. The objective here is to try to understand how death is represented as an idea and as an image. Chapter 2 focuses on the implications of death through the book. Hence, I analyze the death of individuals, the death drive (which assaults many of the characters), mass death and social death as a direct consequence of war. The objective of this chapter is to view death as a theme. In order to do that, some concepts from Freud, such as death drive and melancholia, are applied. Chapter 3 offers a narratological reading of the novel through the link of death to focalization, time and space. The objective in this last chapter is to analyze how death positions himself as an observer of the facts narrated. In the conclusion, I present my final considerations about the use of such peculiar narrator in The Book Thief and its role for the construction of the novel and the setting of the tone for the narrative.

Cette étude a pour but premier de repenser la relation entre Dubliners et les mots « paralysis », « gnomon » et « simony » figurant dans le premier paragraphe de « The Sisters ». Dans la mesure où la critique les a abordés suivant divers actes de centralisation, dé-centralisation et re-centralisation du recueil de Joyce, le concept de rhizome, tel qu'exposé par Deleuze et Guattari dans Mille Plateaux, peut être un modèle pertinent pour présenter la variation des rapports de territorialité entre l’œuvre et ces trois mots. A l'issue de cette étude, ces derniers se voient attribuer des statuts successifs qui remettent en question la notion de centre ou de noyau structurel (l'arborescent). L'architecture de cette étude est la suivante : trois mouvements rhizomatiques reflétant la faculté de ces mots à autoriser sans cesse des constructions, effondrements et reconstructions du territoire textuel, à savoir la territorialisation, la déterritorialisation et la reterritorialisation. Cette démarche de type ritournelle aboutit ainsi à la reconnaissance de l'irréductibilité de l'écriture de Joyce dès ses premiers écrits. / This study aims primarily at re-thinking the relationship between Dubliners and the words "paralysis", "gnomon", and "simony" which appear in the very first paragraph of "The Sisters". Given that critics have approached them following patterns leading to the centering, de-centering and re-centering of Joyce's collection, the concept of rhizome, as developed by Deleuze and Guattari in A Thousand Plateaus, can be a relevant tool to present the variation of territoriality relationships between the work and the three words. At the end of this study, the latter are granted successive statuses, which challenge the idea of a structural center or core (the arborescent). The framework of this study is as follows: three rhizomatic movements illustrating the capacity of these words to allow for endless building, collapsing, and re-building of the textual territory, namely territorialization, deterritorialization, and reterritorialization. This ritournelle style approach leads to the identification of Joyce's irreducible writing technique in his early period.

Este trabalho apresenta uma análise dos narradores homodiegéticos e de suas respectivas focalizações na obra A Long Way Down, de Nick Hornby, publicada em 2005, com o intuito de estimular os estudos sobre este autor no Brasil e de elucidar discussões aprofundadas sobre a narrativa deste escritor. Primeiro, apresentamos brevemente sua biografia e informações relevantes sobre a obra em análise. Em seguida, apresentamos os conceitos de narrador, bem como discutimos a ideia de sujeito de focalização e de objeto de focalização, valendo-nos de autores como Gerard Genette, Mieke Bal e Shlomith Rimmon-Kenan, para embasar a análise deste estudo. A terceira parte deste estudo consiste na análise dos quatro narradores homodiegéticos de A Long Way Down. Esta análise consiste principalmente em explorar os discursos narrativos desses quatro narradores – respectivamente Martin, Maureen, Jess e JJ – e explorar como cada um articula-se como focalizador ou objeto de focalização dentro da narrativa. Através das palavras desses múltiplos narradores a história se desenrola, bem como todo humor e dramaticidade é criado a partir de tal mecanismo. As quatro personagens, que se conhecem em uma tentativa frustrada de suicídio, compartilham ao longo da narrativa diversas experiências e criam um vínculo afetivo que lhes possibilita sobreviver e, consequentemente, contar essa história retrospectivamente. No final, refletimos acerca das últimas considerações apresentadas pelos narradores, discutindo de que forma cada um deles encontrou sua própria redenção e resolveu seus problemas com a vida, ainda que temporariamente. Este estudo destaca a importância de explorar a narrativa de Nick Hornby em termos acadêmicos, bem como salienta a relevância de A Long Way Down em sua obra. / This work presents an analysis of the homodiegetic narrators and their respective focalizations in Nick Hornby’s A Long Way Down, published in 2005, aiming at stimulating further investigation on this author in Brazil and at elucidating deeper discussions regarding this writer’s narrative. First, we briefly present his biography and relevant information about the book under analysis. Then, we present the concepts of narrator, and we discuss the idea of subject of focalization and object of focalization, based on the studies of scholars such as Gerard Genette, Mieke Bal and Shlomith Rimmon-Kenan. The third part of this study is the analysis of the four homodiegetic narrators in A Long Way Down. This analysis mainly consists in exploring the speech patterns of these four narrators - respectively Martin, Maureen, Jess and JJ - and investigating how each one of them works as both the focalizer and object of focalization. Through the words of these multiple narrators the story unfolds, as well as all humor and drama is created from such a mechanism. The four characters, who meet in an unsuccessful suicide attempt, share along the narrative different experiences and end up creating an emotional bond that allows them to survive and, hence, tell this story retrospectively. Finally, we reflect on the latest considerations presented by these narrators, discussing how they find their own way to redemption and solve their problems with life, even if temporarily. This study highlights the importance of exploring the narrative of Nick Hornby in academic terms, and emphasizes the relevance of A Long Way Down in his oeuvre.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-23T12:03:16Z No. of bitstreams: 1 arquivototal.pdf: 1419953 bytes, checksum: 8b1d1b2f92292fe9c8925f26d3d1b370 (MD5) / Made available in DSpace on 2017-08-23T12:03:16Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1419953 bytes, checksum: 8b1d1b2f92292fe9c8925f26d3d1b370 (MD5) Previous issue date: 2014-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The licentious novel of the so-called "Century of Lights" was allied to the epistolary method of composition by which an atmosphere of intimacy is created and which favors the emergence of a discourse of secrecy; this atmosphere, a priori, is conducive to the individual exposure and confession of secrets. In this context, the ideas of the philosopher John Locke (2012) ― inserted in this study ― were influential in placing the sensorial experience in the first sphere of the means by which the individual is led to understanding, and thereby giving the body greater importance in the construction of the individual identity. Following Ian Watt's (2010 ) conclusion that the novel is consolidated when the narrative resources used in it become subordinated to a moral intention, and Foucault's (2006 ) assertion that the practice of religious confession gradually lifted sex to a privileged dimension of individual inner truth, our research aims to analyze the impact of writing of the self in the consolidation of the novelistic genre, taking as a corpus for this thesis two influential pornographic works of the period: Fanny Hill or Memoirs of a woman of pleasure (1749, John Cleland / England) and Theresa, Philosopher, or Memoirs to serve as the story of Father Dirrag and Miss Eradice (1748, Jean-Baptiste de Boyer , Marquis d' Argens / France). In these novels, the moral is problematized by an incursion into the obscene, and in confessions in which the characters recall learning processes from two relevant axes in the literature of the Enlightenment: pleasure (Fanny Hill is an apprentice prostitute) and philosophy (Theresa is an apprentice libertine). In this study, we have tried to show that the discourse on sex in the eighteenth century pornographic novel is endowed predominantly with what we have chosen to name aesthetics of confession, and that this resulted in important developments in the characteristics that the novel took in the eighteenth century. / O romance licencioso do chamado "Século das Luzes" foi aliado à composição epistolar a partir da qual é criado um espaço de intimidade que favorece o surgimento de um discurso de confidência; espaço, a priori, propício à exposição individual e à confissão de segredos. Naquele contexto, influiu o pensamento do filósofo John Locke (2012) ― presente neste estudo ― que colocara a experiência sensorial na primeira esfera dos meios que levam o indivíduo ao conhecimento e, assim, dando ao corpo maior importância na construção da identidade individual. À luz da conclusão de Ian Watt (2010) de que o romance moderno se consolidou quando os recursos narrativos nele utilizados se subordinaram a um propósito moral e da constatação de Foucault (2006) de que a prática da confissão religiosa gradativamente alçou o sexo a uma dimensão privilegiada da verdade íntima, tendo seu auge no século XVIII, nossa pesquisa busca analisar as consequências da valorização da escrita de si na consolidação do gênero romanesco, tomando como corpus duas obras pornográficas influentes no período: Fanny Hill ou Memórias de uma mulher de prazer (1749, John Cleland/Inglaterra) e Teresa filósofa ou Memórias para servir à história do Padre Dirrag e da Senhorita Éradice (1748, Jean-Baptiste de Boyer, Marquês d'Argens/França). Nesses romances, a moral é problematizada através do mergulho no obsceno, em confissões nas quais as personagens rememoram processos de aprendizagem a partir de dois eixos relevantes na literatura do Século das Luzes: o prazer (Fanny Hill é aprendiz da prostituição) e a filosofia (Teresa é aprendiz do libertinismo). Neste estudo, buscamos apontar que o discurso sobre o sexo no romance pornográfico setecentista se mostra dotado predominantemente do que optamos chamar de estética da confissão, que trouxe desdobramentos importantes para a configuração que o romance tomou no século XVIII.

A partir da versão para a língua inglesa de dez contos da obra Ainda Orangotangos do autor gaúcho Paulo Scott (2003), este trabalho tem como objetivo realizar uma análise parcial do processo tradutório no que tange elementos culturais e narratológicos. Para realizar tal análise, foram contempladas três áreas de estudo: a Literatura Comparada, os Estudos da Tradução e a Narratologia. A Literatura Comparada abre as portas para a interdisciplinaridade aqui proposta e valida a tradução literária como seu objeto de estudo, visto que, de acordo com Carvalhal (2003), uma tradução literária pode ser considerada material criativo, na medida em que também constitui em um esforço criativo. O primeiro capítulo trata das questões culturais muito exploradas nos Estudos da Tradução. Martínez (2001), Newmark (1988) e Aixelá (1996) propõem algumas definições e classificações de elementos culturais úteis para reflexão, enquanto os dois últimos, além de Venuti (1992) e Sun (2012), apontam possíveis abordagens para a tradução destes elementos. Apesar de simpatizarmos com as propostas de Aixelá (1996) e Venuti (1992) de propagar o estranhamento em detrimento da domesticação, a proposta de Sun (2012) de equilibrar momentos de precisão e aceitabilidade foi considerada mais próxima de uma tradução realista. Por fim, Aixelá (1996) concebe um conjunto de técnicas de tradução que serão utilizadas aqui a fim de alcançar tal equilíbrio nas versões. O segundo capítulo trata das questões narratológicas e propõe um diálogo entre Narratologia e Estudos da Tradução. Autores como O'Sullivan (2003), Cavagnoli (2008), Nunes (2012) e Boase-Beier (2014) afirmam que o tradutor é leitor e (re)escritor do texto a ser traduzido, e que tal leitura precisa ser diferenciada, visto que questões de narrativa são tão importantes quanto as culturais para conceber o texto literário como um todo. Para fazer essa leitura, propomos a utilização de conceitos da Narratologia de Genette (1980) e Bal (2007). Traduzir é, portanto, uma tarefa interpretativa e transpõe não só o sentido, mas também a forma desse sentido. / Based on the translation of ten short stories from the book Ainda Orangotangos by Paulo Scott (2003) into English, this research aims at carrying out a partial analysis of the translation process regarding cultural and narratological elements. In order to carry out this analysis, three fields of study were contemplated: Comparative Literature, Translation Studies and Narratology. Comparative Literature makes such interdisciplinarity possible and validates literary translation as its object of study since, according to Carvalhal (2003), a literary translation can be considered creative material to the extent that it also constitutes creative effort. The first chapter addresses the cultural issues much explored by Translation Studies. Martínez (2001), Newmark (1988) and Aixelá (1996) propose some definitions and classifications of cultural elements useful for reflection, while the latter two, Venuti (1992) and Sun (2012), indicate possible approaches for translating these elements. Even though we appreciate the proposition by Aixelá (1996) and Venuti (1992) that foreignization should be propagated at the expense of domestication, the proposition by Sun (2012) of balancing accuracy and acceptability was considered better aligned with a realistic translation. Finally, Aixelá (1996) develops a set of translation techniques that are going to be employed to achieve such balance. The second chapter discusses the narratological issues and proposes a dialogue between Narratology and Translation Studies. Authors such as O'Sullivan (2003), Cavagnoli (2008), Nunes (2012) e Boase-Beier (2014) state that the translator is both reader and (re)writer of the text to be translated, and that such reading has to be deeper since narrative issues are as important as the cultural ones to conceive a literary text as a whole. In order to perform such special reading, we propose employing the narratological concepts by Genette (1980) and Bal (2007). Translating is therefore an interpretative task and transposes not only meaning, but also the form of that meaning.