Este estudo propõe-se a discutir o potencial de recepção da obra de Clarice Lispector na Alemanha. Para tanto, fundamenta-se no ideário de tradução despontado nos anos de 1970, sobretudo na Teoria dos Polissistemas de Itamar Even-Zohar, nas normas de tradução de Gideon Toury e nos conceitos de reescrita e patronagem de André Lefevere. Combinada a estes princípios tradutológicos, a obra de Gérard Genette, Paratextos Editorias, auxilia na sistematização das funções e especificidades do corpus desta pesquisa, qual seja, os paratextos que apresentam e comentam as traduções alemãs dos livros de Lispector: textos das orelhas, resenhas literárias, artigos de jornal, dentre outros. Mediante a leitura descritiva e analítica destes elementos textuais, mapeia-se o papel e a influência de instâncias e agentes, tais como editoras e articulistas, na divulgação desta escritora no sistema literário alemão. Destarte, evidenciam-se novos matizes na recepção da literatura brasileira traduzida na Alemanha, na medida em que a imagem associada à obra de Lispector se desvencilha de determinados estereótipos relacionados ao Brasil e alinha-se à tradição da literatura ocidental. / This study aims to discuss the reception potential of Clarice Lispector\'s work in Germany. Therefore, it is based on the ideas of translation emerged in the 1970s, especially on the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In combination with these translational principles the work of Gérard Genette, Paratexts, supports the systemization of the functions and particularities of the corpus of this study, namely, the paratexts that present and comment the German translations of Lispectors books: blurbs, literary reviews, newspaper articles, among others. By means of describing and analyzing these textual elements this work aims at mapping out the role and the influence of instances and agents such as e.g. publishers and journalists on the dissemination of this writer in the German literary system. Thus, new tinges in the reception of Brazilian literature translated in Germany become evident, as the image associated with Lispector\'s work is uncoupled from certain stereotypes related to Brazil and aligned with the tradition of Western literature.

This dissertation, entitled Utopia Refracted through Mandarin Lenses, examines the legacy of Thomas More's Utopia (1516) in three aspects: translations, paratexts, and afterlives. It explores how Utopia - as a book and as a construct - has been appropriated into the Mandarin context during the process of linguistic and cultural transfer in the acts of translation. Employing close reading, instrumental case study, and the concept of paratexts to survey fourteen standalone Mandarin translations of Utopia, this study aims to fill in the gap of a previously neglected aspect of utopian studies, especially its paratextual apparatus, which has been almost entirely overlooked (with only one exception in 2003) since its first translation in 1935. This dissertation is structured into four chapters: the first chapter contextualises Utopia in the original Renaissance context by providing its early publication history (Latin and English) and by analysing the modes of narrative - fiction and dialogue - in which More's self-fashioning is manifest and where his hypothetical heterocosm is materialised. All this substantiates how fiction, dialogue, and paratexts are integral to the shaping of Utopia, without which a holistic reading is not feasible. The second chapter examines the introduction of the concept of...

The Godzilla media franchise is one of the longest running media franchises, which means the character himself has gone through many changes throughout the years. However, in American pop culture, the characters of Godzilla is perceived as a hero, a friend of humanity and defender of Earth. This reputation comes from the Showa Era, where Godzilla often fought on the side of humanity, rather than trying to destroy them as depicted in the original Gojira. In recent years, Toho, Godzilla's corporate owners, have been steering the King of the Monsters back into the villain role. Despite this tone shift by Godzilla's owners, American Godzilla paratexts still generally depict Godzilla as a hero. These depictions of Godzilla are used to maintain his status as a family friendly heritage brand and keep a door open for parents to introduce their children to the brand. Such a strategy allows Godzilla to survive into the modern day as an international powerhouse franchise.

La transculturación narrativa es un fenómeno que implica la creación de nuevos productos debido a la incorporación de elementos culturales y lingüísticos a una cultura dominante y a la pérdida de los mismos en una cultura dominada. Estos elementos se manifiestan a través de la lengua, estructura literaria y cosmovisión. Dentro del proceso de traducción, los traductores toman decisiones para crear un texto meta que refleje el contexto cultural descrito en el texto original. Al traducir un texto transculturado, el proceso traslativo puede requerir de procedimientos particulares para la correcta reexpresión del mensaje original en el producto que, a su vez, busca la comprensión del público receptor. Por esto, la presente investigación se enfoca en analizar la traducción del fenómeno de la transculturación narrativa al inglés de Los ríos profundos de José María Arguedas traducida por Frances Barraclough. Asimismo, se busca identificar los elementos transculturados en la obra original a fin de reconocer las técnicas de traducción y analizar los paratextos empleados en cada caso. Para este estudio, se propone aplicar la técnica de análisis de contenido mediante la elaboración de un libro de códigos que permitirá identificar y analizar los elementos transculturales en la obra Los ríos profundos. Además, se aplicará la técnica de análisis textual contrastivo mediante fichas para comparar fragmentos, lexemas y sintagmas específicos tanto del texto meta como del texto fuente. De esta manera, se expondrán los procedimientos que Frances Horning Barraclough utilizó para la traducción de los elementos transculturales en Los ríos profundos. / Narrative transculturation is a phenomenon that entails creating new products due to the incorporation of cultural and linguistic elements to a dominant culture and their loss on the dominated one. These elements are expressed through language, literary structure and worldview. During the translation process, translators make different kind of decisions in order to create a target text that includes the same cultural equivalence that the original text already has. When a transcultural text is translated, specific procedures are needed to achieve the most accurate rewording of the source text on the final product which, at the same time, seeks for the understanding of the target audience. Therefore, the following research focuses on the analysis of the narrative transcultural translation phenomenon on Deep Rivers, written by José María Arguedas and translated by Frances Horning Barraclough. In addition, the aim of this investigation is to identify the transcultural elements in Los ríos profundos with the purpose of recognizing the translation techniques and analyze the use paratexts during the translation process. In this investigation, in order to identify and analyze transcultural elements in Los ríos profundos, content analysis technique will be use through the elaboration of the codification book. Furthermore, the contrastive textual analysis technique will be applied through index tabs to show fragments, lexemes and syntagmas of both the source and target text. As a result, the procedures that Frances Horning Barraclough used for the translation of the transcultural elements in Los ríos profundos will be presented. / Trabajo de investigación

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Muitas vezes o leitor das narrativas de Guimarães Rosa depara-se com um narrador ou personagem que podem ser lidos como uma figuração do escritor graças à associação entre aspectos textuais (temas, personagens, narradores) e informações acerca do autor. A identificação ocorre também pelo ajuste do texto ao repertório de imagens e posturas autorais que dialogam com as escolhas da obra lida repertório também acessado pelo escritor para a construção de sua figura autoral. Esta tese discute como o escritor criou figurações autorais, procurando entender a dinâmica de vinculação entre presença autoral e campo literário, além da construção da autorrepresentação em enunciações públicas (entrevistas e depoimentos) e privadas (diários e outros manuscritos), nas quais se observa o escritor produzindo figurações de si e afirmando posturas que sugerem um modo de interpretação de seus textos. Quanto às narrativas rosianas, a análise concentra-se em textos divulgados em periódicos e posteriormente reunidos em Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970). / During the reading of many of Guimarães Rosas narratives, the reader can sometimes encounter a character or a narrator that can be seen as the self-representation of the writer himself due to the association between textual aspects (themes, characters, narrators) and the readers information about the author. This identification can also be the result of the adjusting of the text to the repertoire of images and authorial postures which then interact with aspects of the work in question the writer himself can tap into this repertoire in order to construct his image as an author. This thesis discusses how Guimarães Rosa created these authorial images, aiming to understand the dynamics that sustain the relationship between the authorial figuration and the literary field; we also analyze the process of self-representation through public (interviews and testimonies) and private (journals and other manuscripts) interactions during which we can observe the writer producing images of himself and affirming authorial postures that suggest modes of interpretation of his works. In relation to Rosas texts, we analyze articles first published in magazines and then organized in Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970).

The PhD thesis Seriality in Czech and Slovak Comics Narration. Genres - Models - Worlds intends to deepen our understanding of the historically most prevalent serial form (as in "form of organization") of comics' texts, which phenomenon is here described and further studied building upon the material base of the Czechoslovak comics of the 20th century. At the same time, this seriality is considered here as both the topic of research and its main analytical tool, since the thesis aims to advance our knowledge of history of local comics, as well as to propose seriality-related theoretical tools and concepts. On the historical and interpretative level, the Czechoslovak tradition of comics is conceptualized through its dominant publication-presentation types (comics being presented in the periodicals context) of episodic segments with their strictly limited space/page allowance, with focus on formats and models of periodicity, as well as on genre and composition related topics. Further chapters are dedicated to specific sub-categories of comics narratives (either format-based - comic strip, or genre-oriented - funny animal comics). These not only give an appropriate historical overview of the individual topics, but also serve as the prerequisites for consideration of general, arguably even...

Submitted by DANILO PIRES DE AZEVEDO null (danilo_azevedo08@terra.com.br) on 2017-10-20T22:34:43Z No. of bitstreams: 1 Uma análise de livros didáticos de Matemática da coleção EJA-Mundo do Trabalho.pdf: 2557568 bytes, checksum: 4f4e3f968ebf49913c064f6ccdf06d82 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-23T19:52:46Z (GMT) No. of bitstreams: 1 azevedo_dp_me_bauru.pdf: 2557568 bytes, checksum: 4f4e3f968ebf49913c064f6ccdf06d82 (MD5) / Made available in DSpace on 2017-10-23T19:52:46Z (GMT). No. of bitstreams: 1 azevedo_dp_me_bauru.pdf: 2557568 bytes, checksum: 4f4e3f968ebf49913c064f6ccdf06d82 (MD5) Previous issue date: 2017-08-24 / O presente trabalho apresenta uma análise dos livros didáticos de Matemática, parte da coleção EJA-Mundo do Trabalho, vinculada ao Programa EJA-Mundo do Trabalho e distribuído pela Secretaria de Estado da Educação de São Paulo. O objetivo deste estudo foi analisar como a Matemática é mobilizada, segundo a coleção, em relação a uma concepção de trabalho, quando este surge como tema. Nossa metodologia de pesquisa teve inspiração no referencial metodológico da Hermenêutica de Profundidade, de John B. Thompson, e nos Paratextos Editoriais, de Gérard Genette, além de trabalhos que utilizaram essas metodologias para análise de livros didáticos e não didáticos. Traçamos um breve panorama da educação de adultos no Brasil e, especificamente, no estado de São Paulo, sobre livros didáticos de Matemática para esta modalidade de ensino, além de uma análise dos livros de Matemática da coleção EJA Mundo do Trabalho. / The present research is an analysis of a set of Math textbooks, part of EJA – “Mundo do Trabalho” collection, joined to the EJA – “Mundo do Trabalho” Program, distributed by Secretary of State of Education of São Paulo. The aim of this research is to analize how math is mobilized, when it appears in situations related to the main theme of the collection (work). We use the methodological reference of Hermeneutics of Depht by John B. Thompson and Editorial Paratexts by Gérard Genette, besides other studies which used these methodologies for the analysing of textbooks and books. We sketched a brief overview about adults’ education in Brazil and in São Paulo State, also forusing adults’ education Math textbooks.

Muitas vezes o leitor das narrativas de Guimarães Rosa depara-se com um narrador ou personagem que podem ser lidos como uma figuração do escritor graças à associação entre aspectos textuais (temas, personagens, narradores) e informações acerca do autor. A identificação ocorre também pelo ajuste do texto ao repertório de imagens e posturas autorais que dialogam com as escolhas da obra lida repertório também acessado pelo escritor para a construção de sua figura autoral. Esta tese discute como o escritor criou figurações autorais, procurando entender a dinâmica de vinculação entre presença autoral e campo literário, além da construção da autorrepresentação em enunciações públicas (entrevistas e depoimentos) e privadas (diários e outros manuscritos), nas quais se observa o escritor produzindo figurações de si e afirmando posturas que sugerem um modo de interpretação de seus textos. Quanto às narrativas rosianas, a análise concentra-se em textos divulgados em periódicos e posteriormente reunidos em Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970). / During the reading of many of Guimarães Rosas narratives, the reader can sometimes encounter a character or a narrator that can be seen as the self-representation of the writer himself due to the association between textual aspects (themes, characters, narrators) and the readers information about the author. This identification can also be the result of the adjusting of the text to the repertoire of images and authorial postures which then interact with aspects of the work in question the writer himself can tap into this repertoire in order to construct his image as an author. This thesis discusses how Guimarães Rosa created these authorial images, aiming to understand the dynamics that sustain the relationship between the authorial figuration and the literary field; we also analyze the process of self-representation through public (interviews and testimonies) and private (journals and other manuscripts) interactions during which we can observe the writer producing images of himself and affirming authorial postures that suggest modes of interpretation of his works. In relation to Rosas texts, we analyze articles first published in magazines and then organized in Tutaméia Terceiras Estórias (1967), Estas Estórias (1969) e Ave, Palavra (1970).