Made available in DSpace on 2014-06-12T18:34:32Z (GMT). No. of bitstreams: 2 arquivo461_1.pdf: 1182014 bytes, checksum: 843b952bd72c3a53fd3d5316f18e7a89 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2010 / Reflexão sobre os pressupostos teóricos nas relações entre literatura e jornalismo; mais especificamente, nas aproximações e divergências entre o romance e o livro-reportagem. Dissertação que sugere e prepara futuras análises práticas, a partir da delimitação de referenciais, da apresentação de tópicos polêmicos e fundamentais ao debate, como a validade das classificações de gênero, os princípios éticos e técnicos do ofício jornalístico, o estatuto ficcional, a teoria do romance e as características da prosa contemporânea

In a field such as literature, the sense of belonging to a time, a history, a culture, a society or a social class, among other things, inevitably influences the creation of a text---even if it's only done unconsciously. Thus, writing isn't done in a vacuum. By extension, in translation, the context in which the translator exists also tints the text with the reality that the transfer from a source language to a target language is done. Starting with the assumption that the different political, social and cultural contexts surrounding the translation of Albert Camus' L'Etranger influenced the translation and retranslation of the book in Spanish, I will demonstrate and interpret the differences between three Spanish versions of the novel. The first translation was completed in Argentina, in 1949, while Spain was under Franco's dictatorship. Deemed immoral by Franco's regime, its publication was censored in Spain for several years before finally being authorized in 1958---a year after Albert Camus received the Nobel Prize of Literature. A retranslation of the book was completed in 1999 as Spain was marking almost a quarter of a century of democratic rule. More precisely, I will first compare extracts from the first Spanish translation of L'Etranger---done in Argentina by Bonifacio del Carril---with the revised version of that same translation, which was authorized and published in Spain in 1958. My objective for this comparison will be to illustrate the nature of translation by attempting to verify the hypothesis according to which the revised translation of 1958 reflects corrections aimed at actualizing the translation of 1949 in order to more accurately comply with the vocabulary and syntax used in Spain. I will then see how these chosen extracts differ between the first Spanish translation (original version of 1949 and revised version of 1958) and the retranslation done by Jose Angel Valente in 1999, considering that one translation was done during the dictatorship and subject to censorship, while the other was done under a democratic Spain.

Michel de Montaigne believed that to judge a man, we must follow his traces long and carefully. This chronological study of Fou Lei (1908-1966) traces, firstly, his footsteps as a cogent critic of art, literature, music and politics, and as the most accomplished translator of French literature in China of the twentieth century, and secondly reveals a fraction of an intellectual labyrinth meandering through China’s fragmented modern history, almost Oedipal in its disposition towards its past, and its tragic love relations with the West, real or envisioned. Fou Lei the translator of Balzac and Fou Lei the art critic have been the subjects of recent scholarly work of Nicolai Volland and Claire Roberts. This thesis proposes an intellectual biography of Fou Lei and commences, by necessity, with a narrative of his youth – especially the years he spent in Europe – which he himself scarcely mentioned, and the analysis of which is sorely missing in existing literature. Hitherto unpublished documents that I discovered in France and Switzerland contribute to this biography. A close examination of Fou Lei’s early, especially emotional, life is made with the purpose of contextualising his subsequent moral and existential choices. These choices in turn are historicised through his writing, translation and correspondence. Archival findings in Paris lend significant insight into the agony in which he lived during his last years in China, where political predicaments alone were responsible for his death. There are two dimensions to this investigation: intellectual and linguistic. A recurring theme is that of parallels, and a sustained inquiry that of how to reconstruct, then deconstruct, the process of cultural translation and appropriation. Allowing the material to dictate my treatment of it, I make as my focus the internal life of an individual against external conditions. Fou Lei, who chose to live a strictly sedentary life in response to his circumstances, justifies and demands this treatment. Squarely through the point of view of an intellectual who made sense of external and internal realities by way of rigid dichotomy, I obliquely challenge generalised ideas, in particular those of this intellectual himself. I thereby draw attention to the specific thought process of his generalising and the possible ways of understanding it, throwing into question the linguistic instability inherent in these efforts. Under psychological considerations, pre-supposed categorisations dissolve. The ingenium of an individual scrutinised in a given historical situation makes specific the notion of “culture” in a defined context, itself routinely entangled not least semantically. Other than situating Fou Lei, where necessary, in his social milieu, I make apparent, and give accent to, a milieu of words, one with indistinct geographical and temporal boundaries, to glimpse the mental world of a multilingual literatus, the devotion of whose entire adult life was to the craft of language. For the same reason that a thesis on Joseph Conrad might not be expected to discuss Poland, I restrain, where possible, inclined elaboration on the elephantine subject that is China in my study of Fou Lei. I hope to illustrate the “obsession with China” – as C. T. Hsia termed it – that he shared with his contemporaries without falling victim myself to that obsession. This individualistically-driven narrative yet serves a historical purpose. It allows Fou Lei himself to take us from a post-revolutionary, post-May Fourth, post-White Terror Shanghai to an inter-war Europe during the Great Depression, and back to a China entering the Sino-Japanese War, then the Civil War, changing thereafter from a Republic to a People’s Republic under progressively totalitarian control, and traversing endless upheavals into the Cultural Revolution. This voyage becomes thereupon itself a witness both to Fou Lei’s desperate interaction with his time, and to his fierce insistence on autonomy. Notwithstanding our way of arguing being by and large linear, in no way should Fou Lei’s journey be conceptualised as so. In a peculiarly three-dimensional manner, there was more a dislocation, or a continuous array of dislocations, that he had to make sense of in relation to his own country, the political signification of which changed several times over in the lifetime of that particular generation, than the easily supposed confrontation and integration between the so-called East and West. What this modern Chinese intellectual, decidedly archaic in his moral standing and profoundly romantic in a nineteenth-century European sense, obliges, is multi-disciplinary research from multiple angles. What this study of his youth, now positioned in relation to his entire life, reveals, are aspirations that were never fulfilled, seeds that never grew. What it portrays is a sensitivity determined to educate himself against all odds. To a certain extent, this is not so much an analysis of what he achieved – and achieve he did, formidably – as of how he was aborted, and why. In Fou Lei and his Alibis, we observe a man of letters turning time and again to art and literature as a refuge, and I raise, and leave open, questions about his conditions and reactions, still unresolved; questions of alienation and exile, imposed and chosen; questions of perceived roots, perceived universality; the question, as Simone Weil put it, of the relationship between destiny and the human soul.

<p> My dissertation shows how two women writers, Marie NDiaye and Bessora articulate the <i>experience</i> of being black in France, while, at the same time affirming the French Republican tenet that racial identification does violence to individuals, communities, and the nation itself. Despite their similar backgrounds, despite the fact that they reside in the same country, and that they write about a similar cast of characters in a similar milieu, Bessora and NDiaye are not typically seen as belonging to a shared literary category or tradition. NDiaye is categorized as a "French" author and Bessora as "Francophone." Although their novels might not be found in the same section of a French bookstore, when considered together, their works create a dialogue on race in today's France that cannot be overlooked.</p><p> In chapter one I focus on NDiaye's 1999 novella <i>La Naufrag&eacute;e </i>. This work combines art and fiction, featuring paintings by English artist Joseph Mallord William Turner, most notably The Slave Ship (1840). In this chapter, I show how the narrator, a meilnaid, functions as an allegory for racial mixing. Drawing on Walter Benjamin's ideas on allegory, I demonstrate how the novella links the author's own non-white body to the historical bodies of human chattel drowned in the Middle Passage. This novella challenges the notion that France can ever be blind to race, given its history of chattel slavery.</p><p> Paradoxically, it is through allegory that NDiaye demonstrates the real violence and pain inflicted on the black body by the ideology of race-blindness. I build on these ideas in chapter two, examining the effects that the particular allegorical significance of the black body has on black subjects. Here I uncover a powerful intertextual thread running through NDiaye's 2012 novel <i> Ladivine</i>. Though NDiaye's understanding of race is undeniably French, she looks to the United States, to the Harlem Rennaissance and the passing novel to articulate the experience of being both black and entirely culturally French. I explore the dissociative effect produced when an individual, who sees herself as "universal," i.e. French like "everyone else," inhabits a nonwhite body. I extended my analysis beyond <i>Ladivine</i> to touch on <i>Rosie Carpe</i> (2001) and <i>Trois Femmes Puissantes </i> (2009). My analysis of these works reveals the ways in which French universalism is, paradoxically, geographically conscripted. The historical realities of slavery and of colonialism continue to impact the ways in which black bodies are seen in the metropole and in Overseas Departments, and profoundly influence the ways in which black subjects conceive of themselves.</p><p> In Chapter three I turned to Bessora, analyzing her first two novels, <i> 53 cm</i> (1999) and <i>Les taches d'encre</i> (2000). Bessora wrote both of these while pursuing a doctorate in anthropology. However, current scholarship tends to interpret her literary output as standing in direct conflict with her academic pursuits;that her novels, so rich in satire and pastiche, serve to reject or simply "write back" against the fields she was studying at the time. These analyses assume a necessarily conflictual relationship between black writers and the social sciences. I argue that in the tradition of many French anthropologists and authors before her, Bessora should be seen as both a literary author and a social scientist. By handing the tools of anthropological analysis to characters of color in these novels, Bessora does not invalidate a social scientific way of viewing the world; rather, she universalizes the anthropological gaze. She combines postmodern and anthropological narrative techniques to critique the way that race is constructed in France; she exposes the ways in which Republican values work to reinforce nationalism and white supremacy, and fall short of their universalist ambitions.</p><p> Chapter four builds on the ideas established in chapter three by comparing Bessora's dissertation, "M&eacute;mories P&eacute;troli&egrave;res au Gabon," (2002) with her novel <i>Petroleum</i> (2004), on the same subject. As an author of Gabonese descent who was raised and educated primarily in Europe, Bessora offers a complex insider/outsider perspective on her father's country (a country that was also her home for ten years), its history, and its memories of colonization. Reading these two texts side by side reveals both the interdependency between literature and the social sciences in both Bessora's fiction and in the French literary scene more generally. She writes from a vexed position of privilege, for which she has not yet fully accounted. Bessora's own stance towards universalism, her post-national identity which ironically gathers up identitarian labels and categories, obfuscates a more fraught relationship to the national history of Gabon, and to French neo-colonialism there.</p><p>

This work attempts to bring together the descriptive concerns of translation studies with the awareness of the multisemiotic nature of the dramatic text. The question of the relationship between written text and performance, which is central to theatre semiotics and to the most recent debates on drama and theatre translation, complements the descriptive approach to the analysis of translated texts. By bringing in the dimension of performance as part of the source material that is carried over in the exchange of dramatic texts across cultures, this work attempts to provide a model for the analysis of dramatic texts which are very reliant on performance practices. The study thus takes the form of a historical investigation of the translation and reception of a semiotically highly complex text: Goldoni's Servitore di due padroni. The case studies of four successive translations of II servitore in Britain explore the changing theatrical and literary norms to which translators through the ages have been bound by the expectations both of their audiences and the literary/theatrical establishment. Each chapter is based on the use of archival material and introduces a different type of translation: covert translation (Chapter Four), philological translation aimed at the acceptance of the text within the literary canon (Chapter Five), translation into dialect as a way of reclaiming national identity (Chapter Six), and collaborative translation where translator, adaptor, director and actor are seen to be contributing to the rewriting of the text in translation (Chapter Seven). Looking at translation from the perspective of the relationship between text and performance makes the study of the translation of drama very relevant to current debates in translation studies as a whole. By questioning the completeness and authority of the source text and showing how performance traditions, acting styles as well as travelling productions affect the translation and reception of dramatic texts, the exploration of II servitore in translation challenges any unproblematic notions of source text from which to begin the process of translation and offers a model for the study of translated drama that allows for the fluidity of the correlation ofperformance and textuality.

This dissertation studies the sociopolitical place of poetry in Transatlantic Hispanic culture within different crises of the public realm in the wake of the Spanish Civil War. It locates a tradition of authors who question autonomy as “integrity” or “wholeness” and who produce “broken”, “unfinished”, “absent” and “unimaginable” poems. The investigation of this trope helps discover how literature understands itself in relation to war, concentration camps, dictatorship, and post-dictatorship. Authors include: César Vallejo, María Zambrano, Max Aub, Gabriel Ferrater, and Roberto Bolaño. / Romance Languages and Literatures

Umorismo as Luigi Pirandello defines it is distinct from the general body of literary material meant to invoke laughter. It consciously turns rhetorical convention on its head: it creates unexpected oppositions through conscious and careful use of certain types of language in contexts where it is not expected. The aim of my study is to offer readers new ways to approach Giovanni Boccaccio’s lesser-known works as fundamentally humorous texts, among other things, and to observe how they are crafted and what sets them apart from other works to which one might compare them. I argue that Boccaccio created the Amorosa visione, the Teseida delle nozze di Emilia, the Elegia di Madonna Fiammetta, and the De mulieribus claris with a sense of umorismo, that is to say, by playing with the conventions that each book’s respective genre invokes and then subverting expectations set up by those conventions. I examine each of these four works in its own chapter, with special attention to authorial voice, fictionality, narrative strategies, and intertextual practices. I rely chiefly on close readings of the texts themselves, in the original language first and foremost, and I attempt to draw out the humor that I see in the way they have been composed, often a result of play between their content and their structure and style. Ultimately, the umorismo in these works is, as Pirandello would agree it should be, not immediately evident: it takes patience and close reading to uncover. Boccaccio is staunchly in favor of critical and persistent reading as a necessary value that all poetry and fiction should require. His treatise in the Genealogia deorum gentilium on how readers should interact with books explicitly promotes the sort of reading required to perceive and parse the umorismo within his texts. / Romance Languages and Literatures

Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality. / Comparative Literature

Trecento Italy, the century of Dante and Petrarch as well as the mechanical clock, represented a pivotal moment of innovation to formal measures of time. These creative expressions reflected transforming notions of ingenuity, and of man’s ability to shape the world and time in which he lived. While the mythic awakening of the self-conscious individual in Renaissance Italy has been largely demystified, criticism has tended to overlook the concurrent shifts to the Trecento temporal imagination, born of parallel practices that sought to recover cosmogonic secrets, and thus power over time. An intriguing conceptual connection lies in the multifaceted ingegno (and its Latin ancestor, ingenium), not merely a faculty or talent but a touch of the divine within, the dynamic enactment of which impels movement in, and beyond, time. Privileging the exceptional ingegno of Trecento to Quattrocento Italy, my dissertation engages in a three-part investigation of its manifestations, which evoke temporal tensions in the dialectic between particular and universal, finite ontology and pure existential being. Part one re-examines the mechanical clock, both a symbol and instrument, and its complex relation to bells in Trecento Florence. Informed by these symbols, part two, turning to poetic ingegno, conducts close readings of Dante’s Commedia and Petrarch’s Canzoniere — granting particular attention to the orologio of Paradiso 10, and the circularity of sestina 30, “Giovene donna sotto un verde lauro,” each emblematic of the manner in which the poets reconstitute time. Finally, part three considers the centrality of the human “maker” in the time matrix of Quattrocento Florence, juxtaposing the strategies of Lorenzo de’ Medici and Girolamo Savonarola to maximize, and transcend, finite time. This multidimensional approach not only excavates a more complete image of time in Renaissance Italy, but also reimagines the progression from Dante to Petrarch, and Petrarch to Italian poetry thereafter. The examination, I suggest, illuminates a paradoxical legacy: on one hand, in the glorification of man’s creativity; and on the other, in the existential anxiety of the time-conscious individual, endemic to modern chronophobia. The increasingly abstracted and self-referential time bespeaks a conspicuous absence of the sacred center, anticipating the transience that has plagued modernity. / Romance Languages and Literatures

FRENCH VERSION (LANGUAGE OF THE DISSERTATION) Cette thèse doctorale vise à définir les aspects sous lesquels le récit peut saisir un espace afin de le représenter aux lecteurs. Pour ce faire, nous avons choisi une approche poétique, laquelle est soutenue par des études théoriques et critiques contemporaines tirées, notamment, des champs de la phénoménologie, de l’anthropologie, de la géographie, de la géocritique et de la théorie théâtrale. Notre recherche nous aura permis de dresser une typologie générale composée de cinq modes de représentation : les aspects géométrique (qui aborde un espace selon ses mesures, formes et proportions), localisé (qui capte son passage vers les caractéristiques stables du lieu), allégorique (consacré à son développement parallèle à un autre objet), dynamique (d’un espace qui entre en relation directe avec un personnage) et technique (où il est médié par un savoir spécialisé). Chaque chapitre s’ouvre sur un état présent des recherches essentielles à l’établissement de notre aspect, offre une définition détaillée de celui-ci, puis explore les facettes de notre définition au moyen d’études de cas. Ces études sont basées sur un corpus littéraire ouvert, ce qui nous a permis d’offrir des démonstrations précises et claires de la variété de manifestations de nos aspects. La majorité de ces textes appartient à la littérature de langue française du vingtième siècle. Au moyen de cette thèse, nous cherchons à offrir des supports fondamentaux pour l’étude de l’espace dans tout récit, qu’il soit littéraire ou non, ainsi qu’à créer un vocabulaire qui pourra être utilisé par les divers champs d’étude de l’espace narratif. Nous voulons ainsi faciliter les échanges entre ces domaines et l’inclusion de leurs recherches dans la critique générale des textes, permettant d’y souligner la pleine densité poétique de l’espace et de ses rôles dans le développement du récit. ENGLISH TRANSLATION This doctoral dissertation aims to define the aspects under which narratives can grasp a space in order to represent it to the reader. To achieve that aim, we have chosen a poetic approach, which is supported by contemporary theoretical and critical studies from fields including phenomenology, anthropology, geography, geocriticism, and the theory of theater. Our research has allowed us to design a general typology comprising five modes of representation: a geometrical aspect (that grasps a space through its measurements, shapes, and proportions), a localized aspect (that focuses on its translation towards the stable characteristics of a place), an allegorical aspect (in which space unfolds in parallel to the representation of another object), a dynamical aspect (of a space that gets into direct contact with a character), and a technical aspect (in which it is mediated by specialized knowledge). Each chapter begins by a survey of the fields necessary to our aspect, then proceeds to its detailed definition, and then explores the facets of that definition through case studies. These case studies are based on an open literary corpus, which has allowed us to offer clear and precise demonstrations of various manifestations of our aspects. A majority of these texts come from French language literature of the twentieth century. With this dissertation, we aim to offer fundamental tools for the study of space in any narrative, literary or otherwise, and to create a vocabulary that can be manipulated by the various fields of study devoted to narrative space. Thus, we want to facilitate exchanges between such domains and the inclusion of their research in the general criticism of texts, in order to underline the full density of the poetics of space and its roles in the unfolding of a narrative. / Romance Languages and Literatures