In this paper, I propose translation as a main tool for a sensualistic and hermeneutical approach to texts. In agreement with the writer and thinker Euphrase Kezilahabi, who claims that the text has to be considered as a living event, I propose to look at a text not as an object but as a living body. I ague that this approach reduces the distance between the body of the text and that of the reader. Perception can thus be used as a means to know and critique a literary text. I present a multifocal sensualistic analysis based on an analogical idea of knowledge, taking translation as a tool to push the critic to focus on the text word for word (not excluding the paratext or the context). The translations discussed here are poems by Kezilahabi and a proposal for a Swahili translation of the poem L’infinito by the Italian poet Giacomo Leopardi.

Janet Frame (1924-2004) is known for being one of the most prolific, translated, and unconventional New Zealand novelists. Her work, however, includes a vast production of poems, which scholars and translators have ignored or, at least, not considered worthy for a comprehensive approach to her. Frame's work has undergone the further limitation of a strongly biography-based hermeneutics: from the gossiping around her alleged schizophrenia, to the popularity of the filmic version of her autobiography (An Angel at My Table) by Jane Campion, and the countless legends that have sprung around her, she has often been stigmatised and labelled the 'mad writer' of Campion's movie. This thesis links the risks of the life/myth-driven perspectives to the current lack of interest in Frame's poetry. Her poetic production is here presented as a fundamental part of her oeuvre and her idiosyncratic approach to writing. Therefore, this study aims to fill this gap in the literature on Frame and thus reconfigure her role as a poet. Through a combination of methodologies grounded in literary and verse translation theories, creativity and genre studies, poststructuralism and postcolonialism, this thesis investigates the most significant traits of Frame's prose and poetry, particularly the traits shared by both. It critiques past translations of Frame's prose into Italian where these have not taken into account the poetic value of her work, and suggests strategies for the translation of her verse into Italian, arguing that an informed approach to her poetry in translation may greatly contribute to a reconfiguration and re-evaluation of her legacy.

Cette thèse vise à procéder à une analyse minutieuse de la transformation de la forme et du sens dans la traduction des Robâïât de Omar Khayyám, dans quatre importantes traductions – deux en anglais et deux en français, des XIXe et XXe siècles. Les traducteurs des traductions sélectionnées sont Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas et Gilbert Lazard. Les traductions réalisées par ces traducteurs ont offert des possibilités d’investigation dans un cadre linguistique donné. En effet, on peut se demander si les traducteurs ont transformé la signification et la forme des quatrains perses. Si oui, quelles procédures ont-ils utilisées ? Plus précisément, comment les réseaux signifiants sous-jacents ont-ils été rendus par les plus importants traducteurs anglais et français des XIXe et XXe siècles ? Par ailleurs, il s’agira d’essayer d’évaluer la qualité de l’écriture dans la langue cible de chaque traduction. En somme, cette thèse cherche à comprendre si les traducteurs sont parvenus à saisir l’importance de la signification du sous-texte et l’élégance de la forme poétique des Robâïât. Cette thèse propose une application scientifique des concepts théoriques de différents chercheurs en traductologie, linguistique et littérature. Les théories dominantes utilisées dans la présente étude sont celles d’Antoine Berman, de Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff, Mark Johnson, Michael Hanne, et Max Black. En outre, il doit être indiqué que cette thèse vise à créer un équilibre entre deux pôles de la traductologie, à savoir celui qui s’intéresse aux traductions orientées vers la langue cible et celui qui s’intéresse aux traductions orientées vers la langue source.La traduction des Robâïât dans les langues germaniques et romanes est un sujet digne d’intérêt et propice à la discussion. Cette recherche vise à montrer que l’étude des traductions des Robâïât pourrait contribuer à mettre en évidence les difficultés et même l’impossibilité qu’il y a à rendre certaines caractéristiques de l’original persan en anglais et en français. / This thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French.

O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos. / The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.

O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos. / The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.

O cenário da poesia moderna de língua inglesa congrega uma série de autores ingleses e norte-americanos que criaram obras com estilos, formas, problemáticas e visões de mundo altamente diversificados. Uma ampla gama de recursos linguísticos e estéticos foi desenvolvida, incluindo o uso da colagem, a sintaxe fragmentada, o verso livre e a linguagem coloquial algumas vezes intercalada com a solene. Dentre tais autores modernos, o poeta norte-americano Hart Crane se destaca por sua obra poética de alta originalidade e complexidade e suas perspectivas estéticas bastante individualizadas. Em sua obra, Crane articulou recursos e referências literárias e filosóficas variadas. Sua poesia se caracteriza por uma versificação que contempla do pentâmetro iâmbico branco elisabetano ao verso livre moderno; uma sintaxe que se distancia da língua falada com inversões e rupturas; um vocabulário eclético que une arcaísmos a neologismos; uma retórica rica em figuras de linguagem; e um ideário simbólico e temático compreendendo as ideias e imagens místicas e metafísicas do simbolismo francês e a exploração de sentimentos individuais do romantismo inglês. Além desses referenciais, Crane foi particularmente inspirado e instigado pelo poeta norte-americano moderno T. S. Eliot, cuja erudição e domínio de técnicas como a colagem e o verso livre Crane tinha como modelo, mas de cujas perspectivas estéticas classicistas e tradicionalistas e visões da modernidade pessimistas Crane discordava e tentou refutar. Assim, Crane concebeu sua obra poética em grande parte como uma resposta à de Eliot, buscando antepor ao seu pessimismo uma visão mais otimista, postulando uma espiritualidade própria à experiência moderna, que, segundo Crane, deveria ser explorada e registrada pelo poeta. Para tal, Crane desenvolveu uma teoria estética pessoal que enfatizava a subjetividade e as experiências do próprio poeta assim como a tradição literária, englobando, entre outros, elementos da filosofia transcendentalista norte-americana. Esse empreendimento resultou em uma obra breve, porém rica, cuja complexidade foi muitas vezes reprovada como excessiva ou confusa, mas cuja influência e interesse vêm aumentando nos anos após sua morte. Este estudo oferece uma apresentação das principais características da obra poética e das perspectivas estéticas de Hart Crane, centrando-se na análise formal e temática e em uma tradução para o português da sequência de poemas intercalados conhecida como “Voyages”, presente no primeiro livro de Crane, White Buildings, e geralmente considerada uma de suas principais obras. Alguns dos mais significativos poemas de Crane são estudados à luz de suas próprias teorias estéticas e das avaliações de críticos com perspectivas variadas, como Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling e Lee Edelman, entre outros. Buscam-se uma compreensão de sua obra e a apresentação em língua portuguesa de um de seus principais trabalhos líricos com o objetivo de familiarizar o leitor e o estudioso brasileiro com as obras e ideias de um poeta de língua inglesa cuja importância vem sendo atestada ao longo dos anos. / The scenery of modern English language poetry congregates a number of English and North-American authors that created works with highly diversified styles, forms, problematic and worldviews. A wide range of linguistic and aesthetic resources was developed, including the use of collage, fragmented syntax, free verse, and the intercalation of colloquial and formal language. Among these modern authors, the North-American poet Hart Crane stands out due to his highly original and complex poetic works and his strongly individualized aesthetic perspectives. In his work, Crane articulated various philosophic and literary references and resources. His poetry is characterized by a versification that comprises both the Elizabethan blank iambic pentameter and the modern free verse; a syntax distanced from the spoken language with inversions and breakages; an eclectic vocabulary conjoining archaisms and neologisms; a rich and ornate rhetoric including complex figures of speech; and themes and symbols associated to mystical and metaphysical images and ideas from French Symbolism and the English Romantic exploration of subjective feelings. In addition to these references, Crane was particularly inspired by the North-American modern poet T. S. Eliot, whose erudition and mastery of techniques such as the collage and the free verse Crane had as a model, but with whose classicist and traditionalist aesthetic perspectives and pessimist views of modernity Crane disagreed and attempted to counter. Thus, Crane’s poetic work was largely conceived as a response to that of Eliot, aiming at opposing to his pessimism a more optimistic view, postulating a form of spirituality that is proper to the modern experience, which should be explored and registered by the poet, in Crane’s view. For such, Crane developed an aesthetic theory that emphasized the poet’s own subjectivity and personal experiences, encompassing elements of, among others, the American Transcendentalist school of thought. This endeavor resulted in a brief, but very rich poetic oeuvre, whose complexity has been often reproached as excessive or confusing, but whose influence and interest have been increasing in the years following his death. This study provides a presentation of the main characteristics of Hart Crane’s poetic work and aesthetic theories, focusing on the formal and thematic analysis and the translation into the Portuguese language of the poetic sequence known as “Voyages,” included in Crane’s first book and generally considered one of his main works. Some of Crane’s poems are here studied according to his own aesthetic perspectives as well as the evaluations of varied perspectives, such as those of Allen Tate, Yvor Winters, R. W. B. Lewis, Margareth Uroff, Thomas Yingling and Lee Edelman, among others. An understanding of Crane’s work and the presentation in Portuguese language of one of his most celebrated lyrical works are aimed at in order to familiarize the Brazilian reader and student with the works and the ideas of an English language poet whose importance has been attested throughout the years.

[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.

The Inferno from La Commedia, by Dante Alighieri has been translated into Japanese about a dozen times in the past 110 years. In this comparative analysis, seven of those are analysed and compared with regards to how cultural terms were translated and to what degree the different translators tried to make a word-by word translation for certain selected passages. Nine such passages, with a total of 93 lines were chosen. About 60 words were analysed per translator and the main goal was to determine whether if they have a tendency towards foreignisation or domestication. A Natural Language Processing analysis was also conducted to assess the similarity of translations in terms of word usage. Besides the oldest translation, which is quite different when it comes to both word usage and grammar and is therefore considered an outlier, two main groups emerge. One that tends to translate more word-by-word than the other, which is freer. All in the first group imitate the Italian pronunciation of cultural terms using katakana, while most in the latter prefer the current Japanese term. In between these groups appears one translator, which is more consequently following the change of words in a similar way like Dante did when referring to Virgilio, while others tend to use the same word several times.

The PhD thesis studies the translations and the overall reception of John Donneʼs poetry in the Czech literary culture. Its introduction explains the choice of the topic, outlines the structure of the text and the main question to be answered: to what extent Donne has become a significant presence in the Czech cultural context and how his work has been transplanted through translations. The first chapter gives a brief overview of the historical changes in the appreciation of Donneʼs poetry and, drawing on a range of Donnean literature, attempts to define the main features of his poetics. The second chapter traces the gradual building of an awareness of Donneʼs poetry among Czech readers through translations, translation paratexts and references in the works of Czech literary scholars. It introduces the Czech translators of Donne and discusses their motives for translating his work where these could be ascertained. The first part of Chapter 3 describes the method used in analyzing the Czech translations. It introduces the model of translation criticism presented by Antoine Berman in his analysis of French Donnean translations (Pour une critique des traductions: John Donne, 1995) and comments on its application in the study of the Czech translations. The second part sums up the findings of two...

Orientador: Fábio Akcelrud Durão / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T02:43:36Z (GMT). No. of bitstreams: 1 Welcman_Max_M.pdf: 689545 bytes, checksum: 220de918e976fa7f963c4ec14a71c61b (MD5) Previous issue date: 2010 / Resumo: O objetivo do trabalho é introduzir no âmbito acadêmico brasileiro a discussão sobre a primeira vanguarda literária inglesa do século XX, o Imagismo, além de trazer a público, por meio da elaboração de uma antologia bilíngue, uma série de poemas de autores britânicos e norte-americanos pertencentes àquele movimento e ainda inéditos ou pouco divulgados no país. O Imagismo teve reconhecido seu papel pioneiro na reflexão e difusão de novas formas literárias na poesia anglo-norteamericana, envolveu alguns dos principais nomes da literatura anglófona do período, como Ezra Pound, T. E. Hulme, Hilda Doolittle, Amy Lowell, D. H. Lawrence, William Carlos Williams, Ford Madox Ford, entre outros, e influenciou diversos poetas modernistas a ele posteriores, sendo assim fundamental para compreender a formação e desenvolvimento do modernismo nos Estados Unidos e Reino Unido. O estudo foi realizado a partir da leitura e análise das antologias imagistas de 1914-1917, além de obras dos seus alegados precursores; do exame dos principais textos teóricos que embasam a escola imagista; da pesquisa bibliográfica sobre o tema; e da seleção e tradução dos textos antologizados / Abstract: The objective of the work is to introduce into Brazilian academic scope a discussion on the first English literary avant-garde movement in XX century, Imagism, and also to bring a number of poems by British and North American authors related to that movement still unreleased or little promoted in Brazil before the public, by means of a bilingual anthology. Imagism is acknowledged as a pioneer in creating and promoting new literary forms in English and North American poetry, included some of the main English literature authors of the period, such as Ezra Pound, T. E. Hulme, Hilda Doolittle, Amy Lowell, D. H. Lawrence, William Carlos Williams, Ford Madox Ford, among others, and influenced several modernist poets, being thus essential to understand the formation and development of modernism in the USA and United Kingdom. The study was performed by reading and analyzing Imagist anthologies dated of 1914-1917, besides some works by their alleged precursors; by analyzing the main theoretical founding texts of imagist school; by means of bibliographical research on the theme and selection and translation of anthologized texts / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária