Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T04:18:06Z (GMT). No. of bitstreams: 1 Firmino_MarylinLimaGuimaraes_M.pdf: 2150279 bytes, checksum: 7bdaf99c773b277bb5c4eb2b95bf358d (MD5) Previous issue date: 2013 / Resumo: David Lodge aborda a temática da surdez de forma bastante inusitada no romance Deaf Sentence (2008). O protagonista é Desmond Bates, um professor de Linguística Aplicada aposentado, que está ficando surdo e passa por mal-entendidos decorrentes de suas dificuldades em distinguir sons de palavras similares, o que confere ao romance tons humorísticos e irônicos. Por meio da escrita de um diário, o personagem relata sua rotina, abalada pela jovem Alex, e introduz o leitor a uma visão especializada sobre questões de linguagem e literatura, além de expressar com lucidez suas impressões sobre a surdez, dando voz, de forma singular, a essa questão, ainda invisível para muitas pessoas. Os desafios de tradução se apresentam de pronto pelo título (um trocadilho entre deaf e death e polissemia da palavra sentence) e perpassam a narrativa, revelando uma forte ligação entre alguns aspectos paratextuais do romance e a história em si. Deaf Sentence coloca o tradutor diante de trocadilhos e articulações intertextuais que tornam o romance aparentemente intraduzível, ao mesmo tempo, convoca a transposição de fronteiras de forma obrigatória, como exige a tradução do humor. Nesse sentido, as soluções adequadas para os diversos desafios de tradução do romance estão intimamente ligadas às estratégias e recursos utilizados pelo tradutor. A partir do conceito de paratexto cunhado por Genette (2009), são apresentadas análises do título, dedicatória, epígrafe e agradecimentos, presentes no texto original, com o objetivo de expor seus possíveis efeitos sobre leitores e tradutores e, consequentemente, o recente conceito de paratradução (Yuste Frías, 2010) é abordado com o intuito de endossar a importância da tradução de paratextos para a recepção de obras literárias. As análises de capas de algumas traduções permitem o estabelecimento de relações entre imagens do original e de diferentes versões do romance, além de revelarem (ou não) relações com o seu conteúdo. A tradução brasileira Surdo Mundo, de Guilherme da Silva Braga (2010), foco das análises, divide o palco com as traduções A vida em surdina, de Tânia Ganho (Portugal, 2011), La vida en sordina, de Jaime Zulaika (Espanha, 2010), e La vie en sourdine, de Maurice e Yvonne Couturier (França, 2008). É possível estabelecer diálogos entre essas traduções, e a utilização ou não de notas mostrou-se um elemento evidente da singularidade das decisões tomadas pelos tradutores diante dos desafios. A partir das discussões em torno da (in) traduzibilidade de textos humorísticos feitas por Brezolin (1997), Schmitz (1996, 1998) e Possenti (1991), abordam-se possibilidades de tradução criativa desses gêneros discursivos. Levando-se em conta as especificidades de Deaf Sentence, é proposto um diálogo entre algumas vertentes teóricas aplicáveis à tradução do humor: Rosas (2002), Campos (1970) e Reiss e Vermeer (1996). O cotejo entre trechos selecionados de Deaf Sentence e de Surdo Mundo revela que a tradução criativa, processo de negociação amplo entre texto original e tradutor, parece justificar tranquilamente a ausência de notas, enquanto a sua presença nas demais traduções analisadas, em alguns casos, parece advir da aceitação da intraduzibilidade de determinados desafios / Abstract: David Lodge approaches the topic of deafness in a very unusual manner in the novel Deaf Sentence (2008). The protagonist is Desmond Bates, a retired professor of Applied Linguistics who is going deaf and is subject to some misunderstandings arising from his difficulties in distinguishing sounds of similar words, granting the novel ironic and humoristic riffs. By writing a journal, the character reports his routine, shaken by Alex, a young woman, introducing the reader to a specialized view on issues of language and literature, as well as lucidly expressing his impressions regarding deafness, giving voice, in a singular manner, to this issue, still invisible to many. The challenges of translation are immediately presented in the title (a pun regarding deaf and death and the polysemy of the word sentence), and continue throughout the narrative, revealing a strong connection between some paratextual aspects of the novel and the story itself. Deaf Sentence presents the translator with puns and intertextual articulations, which make the novel seemingly untranslatable, while at the same time mandatorily summoning the transposition of frontiers, as is required in the translation of humour. To this end, the adequate solutions for the several challenges in translating the novel are intimately linked to the strategies and resources used by the translator. Based on the paratext concept coined by Genette (2009), this thesis analyses the title, dedication, epigraph, and acknowledgements in the original. The objective is to show their possible effects on readers and translators, and consequently the recent concept of paratranslation (Yuste Frías, 2010) is used in order to stress how important the translation of paratexts is for the reception of literary works. This thesis also analyses the book covers chosen for different translations, establishing relations between images of the original and the different versions of the novel, besides revealing (or not) relations with its content. The Brazilian translation, entitled Surdo Mundo, by Guilherme da Silva Braga (2010), is the main focus of the analysis, sharing the stage with the translations A vida em surdina, by Tânia Ganho (Portugal, 2011), La vida en sordina, by Jaime Zulaika (Spain, 2010), and La vie en sourdine, by Maurice e Yvonne Couturier (France, 2008). It is possible to establish dialogic relationships among these translations, and, the choice of whether or not to use notes proved to be a clear element of how singular the decisions made by the translators were before the challenges. Based on the discussions around the (un)translatability of humoristic texts made by Brezolin (1997), Schmitz (1996, 1998) and Possenti (1991), this thesis deals with the possibilities of creative translation of these discursive genres. Taking into account the specific aspects of Deaf Sentence, a dialogue is proposed between some theoretical perspectives applicable to the translation of humour: Rosas (2002), Campos (1970) and Reiss and Vermeer (1996). The comparison between selected passages of Deaf Sentence and Surdo Mundo reveals that the creative translation - the ample negotiation process between the original text and the translator - seems to easily justify the absence of notes, while their presence in the other translations analyzed, in some cases, seems to be generated by the acceptance that certain challenges were untranslatable / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestra em Linguística Aplicada

This thesis explores how the paratexts to and physical features of English Tudor books about the New World presented the books’ content to their original readers. The contribution this thesis makes to knowledge is threefold. First, the field of study of English travel and colonial literature lacks a bibliographically informed account of how the books’ constitutive elements of type and paper affect meaning. Widespread use of modern editions of the few accessible texts effaces the originals’ rich aesthetic, structural and tactile forms and fails to comprehensively historicise the production and intentions of the books. The careful, contextualised examinations of typefounts and composition included in this thesis go beyond what has been previously done and suggest agendas for further, necessary and illuminating bibliographical work. Second, the thesis presents the first comprehensively investigative survey of how the paratextual elements of the books marketed the New World to Tudor England. It goes beyond John Parker’s fifty-year-old _Books to Build an Empire_ (1965) by considering the full range of forty-three editions’ paratextual apparatus, not just prefaces, proems and dedications. It is simultaneously a counterbalance to the narrow focus on Richard Hakluyt’s anthological _Principal Navigations_ (1598-1600). The thesis begins the much-needed recovery of the conceptual and publication histories of both the constitutive texts reprinted in _Principal Navigations_ and those not included in Hakluyt’s anthology that are nontheless relevant to the history of the genre. Third, this survey that challenges a still powerful teleology: that the publications were unequivocally books to build an empire. Many of these books were in fact marketed as recreational reads. As the paratextual, structural and material features of many of the books this thesis looks at are under-explored and under-reported, close examination of multiple exemplars was necessary to ensure that this thesis is a representative and reliable record of the marketing strategies used to promote Tudor books about America.

This thesis focuses on Olga Krijtova (1931-2013), an important figure in the academic field of Dutch studies in the Czech Republic and a prolific translator of Dutch literature into Czech language. She played a major role in introducing Dutch literature to the Czech cultural context and the thesis focuses on examining the influence of communist ideology and her own literary taste and preferences on her translations, which have deeply influenced the whole image of Dutch literature in the Czech culture. These aspects are examined by analysing her peritexts, several translations and epitexts, all of which shed further light on the nature of Krijtova's contributions to the image of Dutch literature in the Czech culture. Furthermore, the obtained data are interpreted through Toury's norms in translation. Key words: Olga Krijtova, literary translations, ideology, paratexts analysis, Dutch literature

This thesis deals with the translations of Czech prose published in the 1970s and 1980s by Volk und Welt, the second largest publishing house in the German Democratic Republic (GDR). Using the publisher's and other paratexts, the empirical research aims to reconstruct the image of Czech literature that Volk und Welt helped to create. The issue under scrutiny draws methodological as well as theoretical inspiration from Anton Popovič, the Slovak translation scholar who inter alia postulated a theory of metatexts, André Lefevere and the Manipulation School, as well as Gérard Genette, who came up with a theory of paratexts. The publishing activities of Volk und Welt are painted against a broad political and cultural background. By analysing the publisher's reviews, required for the books to be approved for circulation in the GDR, as well as by dissecting other paratexts, the author uncovers strategies whereby the selected books of Czech literature found their way both to the reviewers and the general public.

This Diploma thesis deals with the plays of the Divadlo Járy Cimrmana. I will use description and explanation to examine the influence of mystification, intertextuality and comicality on the success of this Prague theatre. Recordings of the Divadlo Járy Cimrmana performances and the book issues of their plays will be instrumental to this goal. The theory will be largely adopted from B. Brouk, V. Borecký, J. Homoláč, H. Bergeson and L. Dvorský.

This thesis investigates and examines the manifestations of ideology in paratexts, specifically concentrating on forewords and afterwords in Czech translations of novels written during the Spanish Golden Age and translated into Czech between 1948 and 1989. To uncover and classify each display of ideology, a new methodology was proposed. Its creation was based on research documented in the theoretical part of this thesis which discusses translatological concepts, studies ideology and censorship and characterizes the literature of Spanish Golden Age. The translatological concepts covered in this thesis are: the communicative model and praxeology of Anton Popovič, André Lefevere's concept of rewriting, and the paratext theory of Gérard Genett. The functionality of the proposed methodology was tested in the thesis's empirical part, in which nine paratexts were analyzed. On the basis of this paratext analysis, the trends of each ideology manifestations were established as well as factors that contribute to their presence.

[pt] A proposta desta pesquisa foi identificar e analisar os principais agentes de reescrita e de patronagem que concorreram para a inserção e difusão da obra de Emily Dickinson no sistema literário brasileiro, a partir da primeira tradução de Manuel Bandeira, em 1928, até os dias de hoje. Como aporte teórico, utilizamos a Teoria dos Polissistemas, de Itamar Even-Zohar (1997 [1990], 2005); os conceitos de reescrita e patronagem, de André Lefevere (1990, 1992); as noções de capital social, econômico, cultural e simbólico, de Pierre Bourdieu (1986), para informar a análise do perfil dos tradutores de Dickinson; e a Teoria dos Paratextos, de Gérard Genette (2009), na apresentação da poeta e de sua obra ao público leitor brasileiro. Constatamos que os poemas de Dickinson, embora tenham sido traduzidos a partir do início dos anos 1900, ganharam maior repercussão a partir de meados do século. A tradução de Cecília Meireles do poema “I died for Beauty”, em 1954, foi incluída em uma antologia de poesia estrangeira amplamente difundida no país; e a publicação da obra The Complete Poems of Dickinson, por Thomas H. Johnson, numa criteriosa edição de Harvard (1955), resgatando os poemas na íntegra, sem as correções de seus antigos editores, resultou na ressignificação de sua obra no polissistema literário dos EUA e também do Brasil. Vale mencionar as traduções de Dickinson feitas por Haroldo e Augusto de Campos e Décio Pignatari, do movimento concretista, que buscava chamar a atenção para os aspectos formais da poesia e não apenas para o seu conteúdo semântico. Verificamos também que a expansão dos Estudos da Tradução, que propiciou o surgimento de novas teorias, abordagens, métodos e conceitos, ampliando as perspectivas para o estudo da tradução de poesia, aliada à atuação dos agentes de reescrita e de patronagem e aos bem produzidos paratextos, muito contribuíram para a inserção e difusão da poesia de Dickinson no Brasil. / [en] The purpose of this thesis is to identify and analyze the main rewriting and patronage agents which contributed to the introduction and dissemination of Emily Dickinson s work in the Brazilian literary system, starting in 1928 with Manuel Bandeira s first translation up to this day. The research was informed by Itamar Even-Zohar s Polysystems Theory (1997 [1990], 2005); André Lefevere s concept of rewriting and patronage (1990, 1992); Pierre Bourdieu s notions of economic, cultural, and symbolic capital, instrumental to analyze the profile of Dickinson s translators; and Gérard Genette s Paratext Theory (2009), to discuss the presentation of the poet and her work to Brazilian readers. We found that Dickinson s poems, though they had been translated into Portuguese in the early 1900 s, gained greater repercussion since the middle of the century when Cecília Meireles s translation of I died for Beauty, in 1954, was included in an anthology of foreign poetry and widely disseminated in the country; and when the publication of The Complete Poems of Emily Dickinson, edited by Thomas H. Johnson, in a careful Harvard edition, in 1955, recovered Dickinson s poems in full, without the corrections of her former editors, and resulted in the resignification of her work both in the U.S. literary polysystem and the Brazilian one. It is worth mentioning the translations of Dickinson s poems by Haroldo de Campos, Augusto de Campos, and Décio Pignatari, founders of the Concrete Movement, which intended to draw attention to the formal aspects of poetry, and not just to its semantic content. The expansion of Translation Studies, which led to the emergence of new theories, approaches, methods, and concepts, thus broadening the prospects for the study of poetry translation, combined with the performance of rewriters and patrons and with well-produced paratexts, has also greatly contributed to the introduction and dissemination of Dickinson s poetry in Brazil.

No description available.

[pt] Há mais de cinco séculos, desde o achamento das Américas, o Ocidente vem escrevendo uma história que apaga, silencia e estereotipa as sociedades indígenas. Estudos da tradução de natureza historiográfica nos mostram que a tradução e os tradutores estão intimamente relacionados aos contínuos processos colonizadores de silenciamento dos ameríndios e de suas formações e produções discursivas. Trazendo como referencial teórico estudos da tradução pós-estruturalistas e estudos pós-coloniais, o objetivo central da presente tese é pensar a tradução como reparação (v. Paul Bandia 2008) e, em particular, como to mpey – conceito de vida do povo indígena Canela que significa algo como tornar bonito, resolver um problema, reparar algo –, ou seja, como forma de repensar e reparar não apenas as histórias, identidades e culturas das sociedades indígenas, mas de toda esta nação brasileira que vem se constituindo por matizes híbridos e que ainda enxerga nos povos autóctones um exotismo distante e tribal. O conceito de tradução utilizado implica a ampliação conceitual iniciada por Roman Jakobson ([1959]1975) e, sobretudo, o entendimento de reescrita proposto por André Lefevere ([1982]1992). Tendo como motivação primeira a Série Kotiria – coleção de livros que retoma algumas narrativas do povo Kotiria –, formamos um corpus com outros dois conjuntos de reescritas de narrativas indígenas publicados na atualidade. Foram analisados os paratextos presentes nessas coleções, de modo a verificar em que medida esses projetos se apresentaram como espaços de produção discursiva efetivamente indígena; ou seja, estivemos atentos a possíveis indicações de que essas reescritas podem constituir ou não exemplos ou casos atuais do velho processo colonial linguístico que insiste em ocidentalizar os indígenas. Por fim, valendo-nos de concepções de escrita e oralidade que desconstroem sua tradicional dicotomização, formuladas por estudiosos como Daniel Munduruku (s.d.) e Souza (2017), e considerando a emergência de literaturas indígenas, propomos essas reescritas como um potencial sistema literário contra-hegemônico. / [en] For more than five centuries, since the invasion of the Americas by Europeans, the West has been writing a history that erases, silences and stereotypes indigenous societies. Translation studies of a historiographical nature shows us that translation and translators are closely related to the continuous colonizing processes of silencing the Amerindians and their discursive productions and formations. Having post-structuralist translation studies and postcolonial studies as theoretical references, the main objective of this dissertation is to think translation as reparation (see Paula Bandia 2008) and, in particular, as to mpey – a life concept from the Canela indigenous people, meaning something as to make beautiful, to solve a problem, to mend something -, that is to say, as a way of rethinking and repairing not only the histories, identities and cultures of indigenous societies, but of this whole Brazilian nation that has been constituted by hybrid hues and that still sees in indigenous peoples a distant and tribal exoticism. The concept of translation used implies the conceptual extension initiated by Roman Jakobson ([1959] 1975) and, above all, the understanding of rewriting proposed by André Lefevere ([1982] 1992). Having as our first motivation the Kotiria Series - a collection of books that retakes some narratives of the Kotiria people -, we formed a corpus with two other sets of rewritings of indigenous narratives published recently. The paratexts presented in these collections were analyzed, in order to verify to what extent these projects appeared as spaces of indigenous discursive production; in other words, we were aware of possible indications that these rewritings may or may not constitute examples or actual cases of the linguistic colonization that insists on westernizing indigenous peoples. Finally, relying on concepts of writing and orality that deconstruct its traditional dichotomization, formulated by scholars such as Daniel Munduruku (sd) and Souza (2017), and considering the emergence of indigenous literatures, we propose these rewritings as a potential counter-hegemonic literary system.

Throughout history, there have been playful prefaces to literature (or in classical oratory, before display pieces). But German examples written by authors around 1800 to their own works, together with contemporary, self-authored prefaces to speculative philosophy, constitute a peculiarly paradoxical text type. Once literature was conceived as an autonomous domain rather than as a branch of general learning; as a popular book market took hold; and once systematic philosophy competed with literature’s broad acclaim as well as intellectual independence, the preface became not only a pragmatic, but also a creative and conceptual problem. Hence the preface became complicated as a form, in a broadly Romantic tradition of thought in which every act of genuine reflection was understood to expose epistemological contradiction. After my general, theoretical Preface and my comparative, historical Introduction, I focus on three preface paradoxes and three case studies of remarkably complex textuality: on Goethe, Jean Paul and Hegel. Most notable among their prefatory texts are the prefaces to Werther (1774), to a fictive second edition of Quintus Fixlein (1797) and to Phänomenologie des Geistes (1807). This trajectory is a story that begins with literary creativity and moves towards greater philosophical intricacy. The significance of my study is threefold. First and foremost, considering prefaces in this period of German literature and philosophy complements and augments the negative, subjective Early German Romantic idea of irony, Romantic textual fragmentation, as well as Jean Paul’s and Hegel’s literary and philosophically informed attempts to render both concepts and their manifestation on the page more positive and objective. Fragments are conventionally conceived as additive pieces, fortifying or undermining works. This conception can hold true for prefaces, including those by Goethe, Jean Paul and Hegel. At the end of the eighteenth and the beginning of the nineteenth century, though, a number of writers of fragments argued that their works should be understood as wholes. Precisely some prefaces by Goethe, Jean Paul and Hegel can be read so paradoxically: as unifying, wholesome (in a Sentimental sense) and systematic fragments respectively. Second and third, I show the wider importance of the German preface at the turn of the nineteenth century. Authors around 1800 not only displayed, but discovered and debated a prefatory paradoxicality that we encounter in post-Romantic, post-Structuralist and post-modern literature, theory and philosophy, too. Moreover, I demonstrate the ways in which prefaces by particularly Jean Paul and Hegel influenced especially Kierkegaard, Heidegger and Derrida.