Texte remanié de: Tesis doctoral--Filosofía y humanidades--Córdoba--Universidad nacional de Córdoba, 2001. / Bibliogr. p. 385-398.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also in a digital version from UMI/Dissertation Abstracts International.

Univ., Diss.--Jena, 2007.

Thesis (M.A.). / Written for the Dept. of German Studies. Title from title page of PDF (viewed 2008/07/28). Includes bibliographical references.

Not available / text

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / El objeto principal de esta tesis es el poema “Caminos del Espejo” de la argentina Alejandra Pizarnik. Mi tesis consiste en exhibir la escritura atópica en esta autora, y mostrar asimismo, el silencio de la palabra: la palabra que regocija en el no decir. La atopía es la categoría postmoderna a partir de la cual mi lectura se estructura.

Orientador: Miriam Viviana Gárate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T03:34:57Z (GMT). No. of bitstreams: 1 Bosqueiro_JosianeMaria_M.pdf: 1082792 bytes, checksum: 6583d29035760e09951720e0a0cefa48 (MD5) Previous issue date: 2010 / Resumo: Neste trabalho procuramos divulgar parte da produção da poeta argentina Alejandra Pizarnik (1936-1972), ainda pouco conhecida no Brasil, tomando a fase inicial de sua obra, pouco explorada pela crítica. Preparamos a tradução, precedida de uma apresentação, dos livros La última inocencia e Las aventuras perdidas, os mais significativos deste período. Tais obras formam uma etapa de aprendizagem, opinião compartilhada inclusive pela própria poeta, que posteriormente desconsiderou seu primeiro livro, La tierra más ajena (1955), o qual não abordamos aqui. Segundo Ángelez Vázquez, as três obras "fácilmente podrían formar uma trilogía por su temática - es la época en la que se relaciona con revistas vanguardistas y com grupos universitarios reformistas". La última inocencia, publicado em 1956, possui 17 poemascurtos e Las aventuras perdidas, publicado dois anos depois, é constituído por 22 poemas e é dedicado ao poeta Rubén Vela. Comentamos a ligação desses versos com as estéticas vigentes na capital portenha nos anos 50 (a poesia neorromântica, a poesia surrealista e a poesia órfica), onde Alejandra já era uma poeta lida e apreciada, e algumas recorrências desta poética, tais como o desdobramento do sujeito e a peculiar caracterização espaço-temporal; traços que já apontam para sua obra mais consagrada, a qual abarca os livros Árbol de Diana, publicado em 1962 e Los trabajos y las noches (1965, pelo qual recebeu os prêmios Fondo Nacional de lãs Artes e Primer Premio de la Municipalidad de Buenos Aires) e, posteriormente, Extracción de la piedra de locura (1968), El infierno musical e La condesa sangrienta, ambos em 1971, com incursões pela prosa / Abstract: We aimed to publicize part of the argentinian poet Alejandra Pizarnik's work (1936-1972), barely known in Brazil, especially its early moments, not so explored by the critics so far. We have prepared a translation, preceded by a presentation, of the works La última inocencia and Las aventuras perdidas, the most meaningful of the period. These books are part of a learning period, opinion agreed even by the poet herself, who later disconsidered her first work, La tierra más ajena (1955), which we don't broach here. According to Ángelez Vázquez, the three works "fácilmente podrían formar una trilogía por su temática - es la época en la que se relaciona con revistas vanguardistas y con grupos universitarios reformistas". La última inocencia, published in 1956, has 17 short poems and Las aventuras perdidas, published two years later, consists of 22 poems and it is dedicated to the poet Rubén Vela. We have commented the links of these verses with the current aesthetics in the argentinian capital in the 1950's (Neo Romantic poetry, Surrealistic poetry and Orphic poetry) where Alejandra was already a read and appreciated poet, and some recurrences of this poetry, like the development of the subject and the particular caracterization of time-space, traits that already point out to her most acclaimed work Árbol de Diana, published in 1962, and Los trabajos y las noches (1965, which received the Fondo Nacional de las Artes Award and Primer Premio de la Municipalidad de Buenos Aires Award) and latter Extracción de la piedra de locura (1968), El infierno musical e La condesa sangrienta, both in 1971, with forays into prose / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2009-2010 / L'objectif de cette recherche est d'étudier la traduction, la diffusion et la réception de la poésie de l'auteure argentine Alejandra Pizarnik (1936-1972) en français, en anglais et en allemand. Pour ce faire, nous avons effectué un travail bibliographique donnant une vue d'ensemble des œuvres traduites et de leur diffusion, puis élaboré et mis en pratique une méthodologie fondée sur l'analyse de trois aspects (conceptuel, sonore et spatial) des poèmes originaux et traduits, susceptible de donner lieu à une catégorisation plus spécifique des versions poétiques. En plus de dresser un premier bilan exhaustif du rayonnement international de l'œuvre de Pizarnik, cette étude établit des paramètres d'analyse applicables à la traduction poétique en général, qui serviront à mieux cerner les tendances traductives contemporaines et leurs effets potentiels sur la réception d'un poète en sol étranger. La thèse se divise en trois parties. Dans la première, nous explicitons le cadre théorique qui sous-tend la méthodologie proposée : nous définissons le processus de lecture interprétative préalable à toute traduction (chapitre 1), nous commentons des typologies de traductions poétiques représentatives des tendances d'analyse depuis 1975 (chapitre 2), puis nous cernons la nature du genre poétique en identifiant ses manifestations concrètes et les différentes façons dont le traducteur peut les intégrer (chapitre 3). La deuxième partie est consacrée à Pizarnik : nous y présentons d'abord les contextes de production et de réception de son œuvre (chapitre 4), puis analysons son quatrième recueil, Ârbol de Diana (1962), qui l'a propulsée sur la scène internationale (chapitre 5). La troisième partie porte sur l'œuvre de Pizarnik en traduction. Après avoir étudié les contextes de production et de réception des versions répertoriées (chapitre 6), nous nous penchons plus particulièrement sur les traductions françaises, anglaises et allemandes d'Arbol de Diana et analysons en profondeur trois versions ayant joui d'une diffusion notoire : Arbre de Diane de Claude Couffon, Diana 's Tree de Frank Graziano et Maria Rosa Fort, et Dianas Baum de Juana et Tobias Burghardt (chapitre 7). / The goal of this thesis is to study the translation, distribution and reception of Argentine poet Alejandra Pizarnik (1936-1972) in French, English and German. For that purpose, I established an exhaustive bibliography of the translations and studied their distribution. Delving into the corpus, I then devised and applied a methodology based on the analysis on three different aspects (concept, sound and space) of the original and translated work, aimed at categorising poetic versions with more accuracy. In addition to giving a first comprehensive view of the international reception of Pizarnik's work, this study sets parameters for the analysis of poetry translation in general, that will help identify main trends in contemporary translation practices and their potential effects on the way a particular author is perceived internationally. The thesis is divided in three sections. The first explains the theoretical framework underlying the proposed methodology: chapter one defines the nature of the interpretation process as a preliminary condition to any translation; chapter two comments on poetry translation types that are representative of main trends in translation studies since 1975; chapter three delves into the poetic genre, identifying its concrete manifestations and the different ways in which the translator can integrate them. The second part is dedicated to Pizarnik: chapter four summarizes the contexts of production and reception of her original work, and chapter five contains a close reading of her fourth poetry book, Arbol de Diana (1962), which contributed to make her known internationally. The third and final part of the thesis is about Pizarnik's work in translation: chapter six takes a look at the contexts of production and reception of listed versions of her poetry, and chapter seven concentrates on the translations of Arbol de Diana, focusing especially on three versions that have benefited from a particularly wide circulation: Arbre de Diane by Claude Couffon, Diana's Tree by Frank Graziano and Maria Rosa Fort, and Dianas Baum by Juana and Tobias Burghardt.

This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Me interesa aquí analizar un conjunto de textos de Alejandra Pizarnik que reescriben dos muy conocidos textos que comparten la problemática, aunque de maneras muy distintas, de haber sido designados como ―literatura infantil‖: Caperucita roja y Alicia en el País de las Maravillas. Ambos textos pertenecen al corpus de textos canónicos dentro de la literatura infantil y pueden ser considerados parte del ―imaginario colectivo‖. Ambos, además, mantienen tensiones con el adjetivo infantil, sin embargo, parten de caminos distintos. De relato de tradición oral, a las versiones canónicas de Perrault y los hermanos Grimm, el cuento del cuento de La Caperucita Roja y sus devenires parecen ser incontables. Múltiples reescrituras (no sólo literarias) y diversas interpretaciones teóricas, que van desde el psicoanálisis, la crítica socio-histórica, la antropología, la filología, la teoría de género, entre otras, lo hacen ser posiblemente uno de los cuentos más reconocibles de la literatura occidental.