S’appuyant sur la théorie du polysystème d’Itamar Even-Zohar, la présente thèse a pour objet l’étude de la traduction et de l’adaptation des pièces de Molière en Chine. Le propos de l’auteure est de se centrer sur l’influence qu’exercent les facteurs sociohistoriques dans la transmission des œuvres du grand dramaturge français dans l’Empire du Milieu, en particulier en dégageant les caractéristiques dominantes de chaque époque. Ce travail comporte trois parties. La première, après un aperçu des premières rencontres entre le théâtre occidental et le public chinois à la fin du 19e siècle et au début du 20e siècle, est consacrée à l’étude de la première version chinoise de la pièce L’Avare. Ensuite, la traduction chinoise des œuvres de Molière à l’époque moderne (entre 1919 et 1949) est envisagée sous l’angle de deux questions : pourquoi le Mouvement de la Nouvelle culture semble-t-il avoir tant succombé à la tentation littéraliste, et pourquoi cette stratégie a-t-elle cédé le pas à l’adaptation dans les décennies suivantes ? Enfin, la dernière partie se focalisera sur le destin du théâtre moliéresque en Chine contemporaine. Les comédies de Molière ont été d’abord promues par le régime au rang du canon littéraire avant d’être totalement exclues de la scène chinoise pendant la Révolution culturelle, pour finalement revenir en grâce et susciter de nouveaux essais de traduction ou d’adaptation / Based on the Polysystem Theory of Itamar Even-Zohar, this thesis aims to study the translation and adaptation of Molière’s theatre plays in China. The purpose of the author is to focus on the influence of the socio-historical factors in the transmission of the works of the great French playwriter in China, and identify the dominant traits of the translation and adaptation of each era. This thesis is divided into three parts. The first part, after a preview of the first encounter between the western theater and the Chinese public in the late 19th and early 20th century, is dedicated to the study of the first Chinese version of the play L’Avare. Then, the Chinese translation of Molière’s works in the modern era (between 1919 and 1949) is considered in terms of two questions: why the translators during the New Culture Movement couldn’t resist the literalist temptation, and why this strategy has given way to adaptation in the next decades? The last part focuses on the fate of the Molière’s plays in contemporary China. Molière’s comedies were first promoted by the regime to the rank of literary canon before being entirely excluded from the Chinese scene during the Cultural Revolution. With the end of political disorder, his plays have aroused interest among the Chinese public, and have encouraged new translations or adaptations

This master's thesis examines the three German translations of J. D. Salinger's novel <em>The Catcher in the Rye</em> (1951): <em>Der Mann im Roggen</em>, published in 1954 by Diana Verlag and translated by Irene Muehlon; <em>Der F??nger im Roggen</em>, published in 1962 and translated by Annemarie and Heinrich B??ll, and <em>Der F??nger im Roggen</em>, published in 2003 and translated by Eike Sch??nfeld (both published by Kiepenheuer & Witsch). In recourse to polysystem theory, it is shown how translational differences can be explained through the translations' cultural and literary contexts. <br /><br /> First, polysystem theory's most important terms are explained in regard to the research objectives. In doing so, the existing research on German translations of Salinger is summarized. Second, with the help of an analysis by Irene Hinrichsen, the latest translation is compared to its predecessors in regard to language and stylistics. This analysis demonstrates that, unlike the earlier translations, Sch??nfeld's version retains nearly all of the American original's stylistic particularities and extreme content. <br /><br /> Then, building on the result of the linguistic-stylistic analysis, the societal and literary contexts of the three translations are summarized in order to find possible explanations for the translational differences. It becomes clear that the alleviative tendencies of the two earlier translations are very much in tune with the cautious approach to morality of the West Germany of the 1950s. In contrast, the latest translation was produced in a liberal, youthful environment that reflects a more tolerant German society. Therefore, it makes sense to trace the differences between the three translations back to their differing contexts.

This master's thesis examines the three German translations of J. D. Salinger's novel <em>The Catcher in the Rye</em> (1951): <em>Der Mann im Roggen</em>, published in 1954 by Diana Verlag and translated by Irene Muehlon; <em>Der Fänger im Roggen</em>, published in 1962 and translated by Annemarie and Heinrich Böll, and <em>Der Fänger im Roggen</em>, published in 2003 and translated by Eike Schönfeld (both published by Kiepenheuer & Witsch). In recourse to polysystem theory, it is shown how translational differences can be explained through the translations' cultural and literary contexts. <br /><br /> First, polysystem theory's most important terms are explained in regard to the research objectives. In doing so, the existing research on German translations of Salinger is summarized. Second, with the help of an analysis by Irene Hinrichsen, the latest translation is compared to its predecessors in regard to language and stylistics. This analysis demonstrates that, unlike the earlier translations, Schönfeld's version retains nearly all of the American original's stylistic particularities and extreme content. <br /><br /> Then, building on the result of the linguistic-stylistic analysis, the societal and literary contexts of the three translations are summarized in order to find possible explanations for the translational differences. It becomes clear that the alleviative tendencies of the two earlier translations are very much in tune with the cautious approach to morality of the West Germany of the 1950s. In contrast, the latest translation was produced in a liberal, youthful environment that reflects a more tolerant German society. Therefore, it makes sense to trace the differences between the three translations back to their differing contexts.

L’objectif principal de notre travail de recherche est l’étude de l’évolution de la traduction des œuvres romanesques (de français en persan) au 20ème siècle à travers l’analyse des traductions de Mohammad Ghâzi (1913-1997), célèbre traducteur iranien. Dans le cadre conceptuel de notre thèse, nous avons mis l’accent sur trois types de théories contemporaines à savoir : linguistique, philosophique et traductologique. Dans le polysystème de la littérature persane entre les années 1940 et 2000, nous avons contextualisé l’activité de la traduction en général et celle de la littérature française en particulier. Nous avons essayé de définir la place de la traduction de la littérature française dans le polysystème iranien au cours de la période envisagée. Nous avons consacré la dernière partie de notre thèse à l’étude des traductions de Mohammad Ghâzi. Pour déterminer les procédés de traduction utilisés par Ghâzi, nous avons fait une analyse comparée de la traduction persane du Petit Prince d’Antoine de Saint-Exupéry par Ghâzi, Shâmlou et Najafi. Cette analyse vise à aborder comment se traduisent divers effets littéraires d’une langue à l’autre et à expliquer l’impact de la langue ou du discours ainsi que la part de la subjectivité du traducteur sur la méthodologie appliquée par Ghâzi dans le domaine de la traduction. / The principal objective of our research work is the study of the evolution of the translation of novels (from French into Persian) in the 20th century through the analysis of the translations of Mohammad Ghâzi (1913-1997), one of the famous Iranian translators. In the conceptual framework of our thesis we have focused on three types of contemporary theories, namely: linguistic, philosophical and traductological. In the Iranian polysystem between the years 1940-2000, we have contextualized the activity of translation in general and that of French literature in particular. We have attempted to define the role of the translation of French literature in the Iranien polysystem during the period under consideration. We have dedicated the last part of our thesis to the study of the translations of Mohammad Ghâzi. To clarify the translation process used by Ghâzi, we have performed a comparative analysis of the Persian translation of Antoine de saint-Exupery’s The Little Prince by Ghâzi, Shâmlou and Najafi. This analysis aims to address how to translate various literary effects from one language to another and to explain the impact of the language or discourse as well as the role of the translator’s subjectivity on the methodology applied by Ghâzi in the field of translation.

O objetivo deste trabalho é demonstrar como as quatro traduções de Watchmen foram influenciadas pelos diferentes estágios de consolidação da graphic novel no sistema de histórias em quadrinhos do Brasil e pela aproximação deste com o sistema literário. Defende-se a ideia que as histórias em quadrinhos constituem seu próprio sistema e que no Brasil as traduções ocupam o centro do sistema, sendo responsáveis pela introdução de novos modelos de narrativas gráficas. A minissérie Watchmen foi lançada nos EUA entre 1986-1987 em 12 volumes pela editora DC, sendo logo depois reunida em um único livro, com o rótulo de graphic novel. No Brasil, Watchmen seguiu um caminho editorial similarcom as traduções refletindo as transformações do mercado nacional de quadrinhos dos últimos trinta anos em direção à consolidação de um público adulto mais exigente e a migração das vendas em bancas para as livrarias, de forma semelhante ao ocorrido nos EUA na década de 1980. Além disso, este estudo demonstra o peculiar papel de autonomia na escolha de estratégias tradutórias desempenhado pelo tradutor de três das versões brasileiras. O corpus deste estudo é composto dos seis números da edição da Editora Abril (1988), dos doze volumes lançados pela mesma editora em 1999, dos quatro livros da edição da Via Lettera (2005-2006) e a da Edição Definitiva lançada pela Panini Books, em 2011. / This study aims to demonstrate how the consolidation stage of the graphic novel in the Brazilian comic system and the relation between the comic system and the literary system influenced the four Brazilian translations of Watchmen. The ideia defended is that comics have their own system, and that translation occupies the center of the system in Brazil, being responsible for introducing new models of graphic narratives. Watchmen was released in the USA from 1986 to 1987 as a 12-issue miniseries by DC Comics, and not long after was collected into a single book under the label of graphic novel. In Brazil, Watchmen has followed a similar publishing path and the translations reflect the transformations of the national comic book market in the last three decades towards establishing a market for adults and more demanding readers, and to migrate sales from news agencies to bookstores, in a similar way to what happened in the US comic market from the 1980s. This study also demonstrates the peculiar autonomy held by the translator regarding to translations strategies in three of the Brazilian editions. The corpus of this study is composed of 6-issues miniseries published by Editora Abril (1988-1989), 12-issues also released by Editora Abril (1999), the 4 books by Via Lettera publishing house (2005-2006) and the Absolute Edition (2011) by Panini Books.

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When European childrens literature is adapted to North American film, parts of the stories are removed and changed in the hopes of producing something that will be considered acceptable in the target culture. Much of what is educational and cultural in the stories to begin with is removed through the process of adaptation leaving the finished product devoid of its originality and cultural authenticity. These oversimplified stories are what children in North America grow up with and believe to be original. This thesis examines the adaptation of the following classic childrens stories to film: Charles Perraults Bluebeard (1697); Lewis Carrolls Alices Adventures in Wonderland (1865) and Through the Looking-Glass and What Alice Found There (1871); and Carlo Collodis Le Avventure di Pinocchio (1883).

Este estudo objetiva apresentar e discutir os principais conceitos da Teoria do Polissistema, de Itamar Even-Zohar, a aplicação de seus conceitos à realidade brasileira e as suas contribuições aos estudos literários e à Literatura Comparada. São apresentados os conceitos de sistema e de polissistema, uma hipótese para a estruturação do sistema literário, pela qual são apresentados os conceitos de instituição, mercado, produtor, consumidor, repertório e produto, e hipóteses para a definição de leis de interferência literária. Para a aplicação dos conceitos da Teoria do Polissistema à realidade brasileira, este trabalho realiza um breve estudo de caso sobre o papel da Internet no sistema literário brasileiro contemporâneo. Em primeiro lugar, é discutido o conceito de hipertexto sob a ótica dos trabalhos de Pierre Lévy, Alckmar Luiz dos Santos e Ingedore Koch. Em segundo lugar, é discutido o conceito de blog e sua relação com o de hipertexto. Em terceiro lugar, o texto publicado em blog A Saga do Primeiro Beijo, de Alessandra Félix, é utilizado para a aplicação dos conceitos da Teoria do Polissistema e comparado, do ponto de vista formal, ao folhetim. Dessa forma, visualiza-se o conjunto de contribuições dos trabalhos de Even-Zohar e procura-se comprovar suas principais hipóteses. / Based on Even-Zohar's Polysystem Theory, this work not only presents and discusses its main concepts, but also applies it to the Brazilian scenario, in addition to its contributions to literary studies and comparative literature. After presenting definitions for systems and polysystems, it exposes the hypothesis for the literary system structure. The hypothesis contains definitions of institution, market, manufacturer, consumer, repertoire and product. Also, this work discusses the hypothesis that determines the laws of literary interference. In order to apply the Polysystem Studies to the Brazilian scenario, a short case study over the Internet role in the Brazilian contemporary literary system was produced. The case study starts with an analysis over the hypertext concept under the light of Pierre Lévy, Alckmar Luiz dos Santos and Ingedore Koch. Then the definition for blog is discussed in relation to the hypertext notion. Finally, the Polysystem Theory is applied to the writing A saga do Primeiro Beijo, published in a blog by Alessandra Félix, also comparing it to feuilleton under the formal aspect. By this means, it is possible to see the set of contributions made by Even-Zohar's study as a whole, as well as the application of its main assumptions.

Este estudo objetiva apresentar e discutir os principais conceitos da Teoria do Polissistema, de Itamar Even-Zohar, a aplicação de seus conceitos à realidade brasileira e as suas contribuições aos estudos literários e à Literatura Comparada. São apresentados os conceitos de sistema e de polissistema, uma hipótese para a estruturação do sistema literário, pela qual são apresentados os conceitos de instituição, mercado, produtor, consumidor, repertório e produto, e hipóteses para a definição de leis de interferência literária. Para a aplicação dos conceitos da Teoria do Polissistema à realidade brasileira, este trabalho realiza um breve estudo de caso sobre o papel da Internet no sistema literário brasileiro contemporâneo. Em primeiro lugar, é discutido o conceito de hipertexto sob a ótica dos trabalhos de Pierre Lévy, Alckmar Luiz dos Santos e Ingedore Koch. Em segundo lugar, é discutido o conceito de blog e sua relação com o de hipertexto. Em terceiro lugar, o texto publicado em blog A Saga do Primeiro Beijo, de Alessandra Félix, é utilizado para a aplicação dos conceitos da Teoria do Polissistema e comparado, do ponto de vista formal, ao folhetim. Dessa forma, visualiza-se o conjunto de contribuições dos trabalhos de Even-Zohar e procura-se comprovar suas principais hipóteses. / Based on Even-Zohar's Polysystem Theory, this work not only presents and discusses its main concepts, but also applies it to the Brazilian scenario, in addition to its contributions to literary studies and comparative literature. After presenting definitions for systems and polysystems, it exposes the hypothesis for the literary system structure. The hypothesis contains definitions of institution, market, manufacturer, consumer, repertoire and product. Also, this work discusses the hypothesis that determines the laws of literary interference. In order to apply the Polysystem Studies to the Brazilian scenario, a short case study over the Internet role in the Brazilian contemporary literary system was produced. The case study starts with an analysis over the hypertext concept under the light of Pierre Lévy, Alckmar Luiz dos Santos and Ingedore Koch. Then the definition for blog is discussed in relation to the hypertext notion. Finally, the Polysystem Theory is applied to the writing A saga do Primeiro Beijo, published in a blog by Alessandra Félix, also comparing it to feuilleton under the formal aspect. By this means, it is possible to see the set of contributions made by Even-Zohar's study as a whole, as well as the application of its main assumptions.

O objetivo deste trabalho é demonstrar como as quatro traduções de Watchmen foram influenciadas pelos diferentes estágios de consolidação da graphic novel no sistema de histórias em quadrinhos do Brasil e pela aproximação deste com o sistema literário. Defende-se a ideia que as histórias em quadrinhos constituem seu próprio sistema e que no Brasil as traduções ocupam o centro do sistema, sendo responsáveis pela introdução de novos modelos de narrativas gráficas. A minissérie Watchmen foi lançada nos EUA entre 1986-1987 em 12 volumes pela editora DC, sendo logo depois reunida em um único livro, com o rótulo de graphic novel. No Brasil, Watchmen seguiu um caminho editorial similarcom as traduções refletindo as transformações do mercado nacional de quadrinhos dos últimos trinta anos em direção à consolidação de um público adulto mais exigente e a migração das vendas em bancas para as livrarias, de forma semelhante ao ocorrido nos EUA na década de 1980. Além disso, este estudo demonstra o peculiar papel de autonomia na escolha de estratégias tradutórias desempenhado pelo tradutor de três das versões brasileiras. O corpus deste estudo é composto dos seis números da edição da Editora Abril (1988), dos doze volumes lançados pela mesma editora em 1999, dos quatro livros da edição da Via Lettera (2005-2006) e a da Edição Definitiva lançada pela Panini Books, em 2011. / This study aims to demonstrate how the consolidation stage of the graphic novel in the Brazilian comic system and the relation between the comic system and the literary system influenced the four Brazilian translations of Watchmen. The ideia defended is that comics have their own system, and that translation occupies the center of the system in Brazil, being responsible for introducing new models of graphic narratives. Watchmen was released in the USA from 1986 to 1987 as a 12-issue miniseries by DC Comics, and not long after was collected into a single book under the label of graphic novel. In Brazil, Watchmen has followed a similar publishing path and the translations reflect the transformations of the national comic book market in the last three decades towards establishing a market for adults and more demanding readers, and to migrate sales from news agencies to bookstores, in a similar way to what happened in the US comic market from the 1980s. This study also demonstrates the peculiar autonomy held by the translator regarding to translations strategies in three of the Brazilian editions. The corpus of this study is composed of 6-issues miniseries published by Editora Abril (1988-1989), 12-issues also released by Editora Abril (1999), the 4 books by Via Lettera publishing house (2005-2006) and the Absolute Edition (2011) by Panini Books.