Esta dissertação apresenta uma tradução comentada de parte do livro The Unfortunate Traveller: or, The Life of Jack Wilton, escrito por Thomas Nashe em 1594 e discute os desafios de traduzir pela primeira vez para o português esse romance picaresco escrito durante o período elisabetano. As alterações estruturais, lexicais e semânticas ocorridas na língua inglesa durante esses anos e as diferenças culturais entre a Inglaterra do século XVI e o Brasil da atualidade são algumas das dificuldades enfrentadas no processo tradutório dessa obra. O primeiro capítulo apresentará uma leitura crítica da obra, do autor e uma contextualização do romance picaresco. No segundo capítulo haverá uma explanação das duas teorias de tradução usadas nesta dissertação: as tendências deformadoras propostas por Antoine Berman (1985), que propõem identificar as variações encontradas nas traduções em relação ao texto original; e o modelo descritivo das Modalidades de Tradução elaboradas pelo Prof. Dr. Francis H. Aubert (1998, 2006), derivado do modelo pedagógico dos procedimentos técnicos da tradução (Vinay & Darbelnet, 1958, 1977). No terceiro capítulo usaremos essas duas teorias como ferramentas para análise das escolhas tradutórias adotadas e suas implicações na escrita do texto na língua de chegada. O quarto capítulo trará a tradução de 50% do livro ao lado do texto original em inglês com notas e comentários no rodapé. / This work presents an annotated translation of a part of the book The Unfortunate Traveller: or, The Life of Jack Wilton, written by Thomas Nashe in 1594 and discusses the challenges of translating for the first time into Portuguese this picaresque novel written during the Elizabethan period. Structural, lexical and semantic changes in the English language over the years and the cultural differences between the sixteenth-century England and contemporary Brazil are some of the difficulties in the translation process of this work. The first chapter will present a critical reading of the work and the author. In the second chapter there will be an explanation of the two translation theories used in this dissertation: the comparative method of deforming tendencies proposed by Antoine Berman (1985), which proposes to identify the variations found in translations from the original text. And the second, the The translation modalities descriptive model developed by Francis H. Aubert (1998, 2006), derived from the pedagogical model of the technical procedures of translation (Vinay & Darbelnet, 1958, 1977). In the third chapter these two theories will be used as tools to analyze the translation choices and its implications in writing the text in the target language. The fourth chapter will bring the translation of 50% of the book side by side with the original text in English with notes and comments in footnotes.

Made available in DSpace on 2017-07-10T18:55:36Z (GMT). No. of bitstreams: 1 Joyce Fernandes.pdf: 831385 bytes, checksum: 8a8daac78a4a48cbd4f4f5e28d241a67 (MD5) Previous issue date: 2014-03-11 / Known worldwide for his works and characteristics as a writer, José Saramago breaks paradigms, escapes conventionalism and creates, in his narratives, a new way of treating the vernacular and the conventional practice of novel-writing. By using writing strategies that seek similarity with the speech and the appropriation of forms most commonly employed in speech contexts, such as proverbs, Saramago approaches the reader and develops a reflection on the limits of word meaning. These idiosyncrasies become challenges to the translator that proposes to translate his works, mainly because difficult decisions are made when analyzing what to prioritize in the choices during the translation process. It is important to know and to study translated literary works in order to observe the style of the translator and consequent tendencies in his choices, conscious or not, that modify the work at various levels. The present study aims at analyzing the translation procedures Giovanni Pontiero might have applied in the translation of the work Ensaio sobre a cegueira ([1995] 2009), Blindness (1998). As objectives, we propose to observe and analyze the choices made by the translator, who seems to have given fluency to the text with respect to the translation of the proverbs; identifying the translation modalities characterizing of the solutions found by Pontiero; and recurrence of one or more modalities in the translator s style. The analysis was based on interdisciplinary methodological concepts of comparative literature, defined by Carvalhal (1994, 2005 and 2006) and Coutinho (1994), the translation studies for the application of modalities by Vinay and Darbelnet (1958) and Aubert (1998), as well as studies on the proverbial text, developed by Lopes (1992), Lacerda e Lacerda (2004), Tagnin (2005) and Manser (2007), and the critical fortune of Saramago here composed by Bloom (2005), Reis (2008) and Ornelas (2011) / Conhecido mundialmente por suas obras e características próprias como escritor, José Saramago quebra paradigmas, foge do convencional e cria em suas narrativas um diferente modo de tratamento do vernáculo e da própria prática convencional de escrita romanesca. Ao utilizar-se de estratégias de escrita que buscam a semelhança com a oralidade e a apropriação de formas mais comumente empregadas em contextos de fala, como os provérbios, Saramago se aproxima do leitor e desenvolve uma reflexão sobre os limites da significação das palavras. Tais particularidades tornam-se desafios ao tradutor que se propõe a traduzir suas obras para qualquer outro idioma, principalmente porque se depara com decisões difíceis ao analisar o que priorizar em suas escolhas. É relevante conhecer e estudar obras literárias traduzidas de maneira a observar o estilo do tradutor e as tendências decorrentes de suas escolhas, conscientes ou não, que modificam a obra em diversos níveis. O presente estudo tem como objetivo principal analisar os procedimentos tradutórios presentes no par de obras Ensaio sobre a cegueira ([1995] 2009) e Blindness (1998), traduzida por Giovanni Pontiero. Como objetivos específicos, propõe-se observar e refletir sobre as escolhas feitas pelo tradutor, que apresentou uma tendência para conferir fluência ao texto no que diz respeito à tradução dos provérbios; identificar modalidades tradutórias caracterizadoras das soluções encontradas por Pontiero e a recorrência de uma ou mais modalidades no estilo do tradutor. A análise foi fundamentada nos conceitos metodológicos interdisciplinares da literatura comparada, definidos por Carvalhal (2005 e 2006) e Coutinho e Carvalhal (1994); dos estudos de tradução referentes à aplicação das modalidades tradutórias realizados por Vinay e Darbelnet (1958) e Aubert (1998); além dos estudos sobre o texto proverbial, desenvolvidos por Lopes (1992), Lacerda e Lacerda (2004), Tagnin (2005) e Manser (2007), e da fortuna crítica de Saramago, aqui composta por Bloom (2005), Reis (2008) e Ornelas (2011)

Ugo Foscolo (1778-1827), poeta neoclássico italiano, é considerado uma figura de relevo na Literatura Italiana e universal. Apesar disso, é muito pouco conhecido dos leitores de língua portuguesa. Foi precursor da prosa moderna italiana com um romance epistolar de caráter pré-romântico, Ultime lettere di Jacopo Ortis, nunca traduzido para o português. O intuito desta dissertação é apresentar o autor ao público brasileiro, por meio desse romance. O trabalho conta com uma análise da obra, acompanhada de uma seleção de cartas traduzidas, comentadas e anotadas, levando em conta os aspectos históricos, literários, estilísticos e temáticos. No capítulo 1, tratamos da vida e obra do autor; em seguida, das Ultime lettere: seu conteúdo e crítica; no capítulo 2, das características do romance epistolar, do seu aspecto formal, dos temas que aparecem no romance, das obras e autores que o influenciaram, e que nele são mencionados; no capítulo 3, do trabalho e das idéias de Foscolo a respeito de tradução; dos critérios adotados nesta dissertação para a escolha e tradução das cartas que se encontram no final do volume. O critério para a tradução das cartas levou em conta idéias sugeridas pelo próprio Foscolo e discutidas no capítulo 3; recorreu-se também a várias edições da obra em italiano, a traduções para o inglês e espanhol, a dicionários especializados e à leitura de autores brasileiros e portugueses contemporâneos de Foscolo, com o objetivo de se produzir um texto que refletisse a linguagem da época. A tradução vem acompanhada de notas que visam esclarecer ao leitor alusões históricas e literárias e problemas textuais do romance / Ugo Foscolo (1778-1827), Italian classical poet, is considered to be an important name in both Italian and universal literature. Nevertheless he is almost unknown to the readers in Portuguese language. He was the precursor of modern Italian prose due to his epistolary novel Ultime lettere di Jacopo Ortis (Last Letters of Jacopo Ortis), a Pre-Romantic work never translated into Portuguese. The aim of this dissertation is to present, through this novel, the author to the Brazilian reader. It includes an analysis of the novel, followed by a selection of commented and annotated translated letters, considering their historical, literary, stylistics and thematic aspects. In the first chapter we discuss first the author´s life and work, and then Last Letters: its contents and the critics about it. In the second chapter we discuss the characteristic of the epistolary novel, its formal aspects, the themes inside the novel, the works and the authors that influenced it - and are mentioned in it. In the third chapter, we discuss Foscolo´s works and ideas on translation, the criterion adopted here to chose and translate the letters in the end of the volume. Our translation criterion is based on Foscolo´s ideas discussed in the third chapter. We also consulted several editions of the work in Italian, its English and Spanish translations and specialized dictionaries. We have read several Brazilian and Portuguese writers who lived in the same time as Foscolo with the aim of producing a text reflecting the language of Foscolo´s time. Following the translation there are notes explaining historical and literary allusions or textual difficulties of the novel

Comenta-se traduções para diferentes línguas/culturas dos poemas de Nukata no Ôkimi. A partir dessas traduções são discutidas diferentes concepções de tradução de poesia e propõe-se traduções para o português. / Several translations of Nukata no Okimi\'s poems in different languages/cultures are discussed, as well as the concepts of translation on which they are based. In the light of this discussion, a new translation of the poems into Portuguese takes shape.

No description available.

The translation of tourist texts, in addition to the usual challenges of any translation, has to deal with the difficulty of adequately translating the advertising message. This paper, titled “The translation of advertising features of a tourist text - Spanish source text, Swedish target text”, focuses on this issue by comparing a source text in Spanish with its translation into Swedish (elaborated by the author). Attention is given to the characteristics that convey the selling message of the text: the slogan, titles, paragraph-final sentences, and a series of genre-typical features like the use of pronouns and deixis. The theoretic background and the comparison with Swedish parallel texts show that there seems to be a general similarity of characteristics between the source text and Swedish tourist texts, although an adaption of the translation to Swedish genre-traditions was considered necessary in the use of the 2nd person singular (being used considerably more often in the target text than in the source text) and in the use of imperatives (being used more often in the target text than in the source text, as a way of influencing the reader directly).

Les compétences linguistiques sont fondamentales à l’exercice du métier de traducteur. La connaissance de la culture d’origine et d’arrivée est elle aussi d’une importance primordiale pour transmettre la richesse d’un ouvrage. La question de la place du culturel dans la traduction est abordée par les chercheurs en traductologie depuis une trentaine d’années, et les critères définis sont de plus en plus précis. Cependant, le couple spécifique que constitue le polonais vers le français n’est encore que peu étudié. Nous nous interrogeons donc sur l’expression des connaissances culturelles et contextuelles dans la traduction lors du passage du polonais vers le français. Pour ce faire, nous nous appuyons sur un corpus issu majoritairement des littératures de grande diffusion : notre questionnement porte sur la place de la culture, tant individuelle que nationale, quand l’objectif premier du texte est autre que culturel, ainsi que sur l’importance apportée à sa traduction. Notre réflexion s’appuie sur les oeuvres d’un grand auteur de fantasy, Andrzej Sapkowski, Polonais à la renommée mondiale,et aux traductions ver s le français de ses oeuvres. Nos observations sont par ailleurs complétées par une analyse de la même problématique dans le polar et le roman historique. La question que nous posons est la suivante : dans des textes polonais dont l’objectif premier n’est pas la transmission de la culture, mais le divertissement du public, quels types de connaissances culturelles et contextuelles sont présents, quelle place occupent-ils et comment sont-ils transmis en français ? Nous nous demanderons également quelle est l’incidence s’ils sont occultés. Afin de répondre à ces interrogations, nous proposons une classification des références culturelles et contextuelles qui correspondent à une typologie possible du culturème dans la traduction polono-française, applicable à d’autres littératures que celles de grande diffusion. Pour chacune des catégories et sous-catégories distinguées, nous analysons des exemples précis d’application dans notre corpus. Ceci nous permet de mettre à jour les pratiques les plus courantes dans la traduction des littératures de grande diffusion, et peut-être d’envisager d’autres approches. / Linguistic skills are essential for translators. However, a profound knowledge of source andtarget cultures is also fundamental for transmitting all the richness of a work. Researchershave been working on the importance of translating culture for thirty years, and the criteriathey define are more and more precise. However, translation from Polish into French has beenlittle studied. Therefore, we examine the expression of cultural and contextual knowledge inPolish-to-French translations. To do that, we mainly use a corpus of broadcasting texts andquestion the importance of both individual and national culture when the primary goal of textis not cultural transmission: how to translate such cultural elements? We focus our researchon the works of the famous Polish fantasy writer Andrzej Sapkowski and their Frenchtranslations. We also include thrillers and historical novels in our research. In Polish textswhere the primary objective is not transmitting culture but entertaining a wide range of public,what kind of cultural and contextual knowledge is expressed, what importance does it haveand how is it translated into French? We also question the impact of the absence of suchcultural elements in the translations. To answer all these questions, we establish aclassification of cultural references that can be considered as a possible typology for thecultureme in translation from Polish into French that may apply to other types of texts. Foreach category and subcategory, we analyze specific examples from our corpus of texts. Thisallows us to recognize most frequent practices in broadcasting literature translations, andperhaps offer new approaches.

Les écrivains-traducteurs sont des acteurs essentiels de la vie littéraire, leur oeuvre exemplifiant les interactions complexes qui gouvernent la création littéraire et les formations culturelles en général. S’intéresser à leur travail permet d’articuler l’étude approfondie des textes et l’examen des dynamiques qui nourrissent les échanges culturels.La présente thèse de doctorat interroge l’œuvre de deux poètes-traducteurs emblématiques du XXe siècle : les traductions de Shakespeare d’Yves Bonnefoy et de Paul Celan sont présentées et analysées dans leur rapport au travail poétique mené par ces deux auteurs. L’étude se base essentiellement sur un choix de traductions, mais elle prend en compte également d’autres textes qui permettent de comprendre la réception de Shakespeare des deux poètes.Tandis que Celan insiste sur la différence irréductible entre l’original et la traduction, la réception de Shakespeare d’Yves Bonnefoy consiste en un mouvement d’identification. En revanche,le travail des deux écrivains-traducteurs est caractérisé par sa forte dimension autoréflexive : traduire Shakespeare permet à Bonnefoy et à Celan de développer leurs projets poétiques et de se positionner dans leurs propres contextes historiques. Chez les deux poètes, la traduction de Shakespeare aboutit à une fusion de voix spécifique, qui intègre Shakespeare dans l’univers poétique de l’écrivain traducteur. / Author-translators are key actors of literary life, whose oeuvre exemplifies the complex interactions inherent in literary creation and in cultural formations in general. To concentrate on this figure makes it possible to combine close textual analysis with the investigation of the dynamics of cultural exchange.The present thesis studies the work of two emblematic 20th-century poet-translators: Yves Bonnefoy’sand Paul Celan’s Shakespeare translations are presented and analysed in their role for the poetics of both authors. The thesis draws essentially on close readings of a choice of translations, but it also takes into account other sources which help elucidate the Shakespeare reception of the two poets.While Celan insists on the irreducible difference between original and translation, Bonnefoy’s Shakespeare reception consists of a process of identification. For both poets, however, Shakespeare translation is essentially an auto-reflexive affair: through their confrontation with Shakespeare,Bonnefoy and Celan develop their poetic projects and position themselves in their own historical contexts. In both cases, therefore, Shakespeare translation results in a specific fusion of voices, which integrates Shakespeare into the author-translator’s own poetic universe.

Cette thèse étudie certaines formes de la manifestation de la présence du traducteur dans la traduction littéraire angl.fr.. Une approche théorique ouvre l’étude : la manière dont on envisage la présence du traducteur dans un texte est analysée à travers les diverses réflexions et théories formulées sur la traduction depuis l’Antiquité jusqu’à nos jours. S’ensuivent quelques réflexions sur le traducteur littéraire : ses relations à l’écriture, puis à l’auteur, ou au texte à traduire sont analysées à travers des témoignages de traducteurs : amour, haine, désir, plaisir — autant de sentiments forts qui interviennent au cours du processus de traduction. Trois cas particuliers de la relation auteur-traducteur sont évoqués. Une étude des différentes traces (visibles et invisibles) que laisse un traducteur dans son texte précède une vaste étude sur corpus. Le rôle de négociateur entre langues et cultures qu’endosse un traducteur est étudié à travers les œuvres d’H. Fielding et J. Austen : entre visibilité et invisibilité, les choix des traducteurs sont analysés et commentés. Les traductions choisies pour J. Austen permettent d’envisager le devenir de l’unité d’une œuvre traduite par plusieurs traducteurs différents. Une étude diachronique des traductions de Pride and Prejudice montre que la retraduction est le lieu par excellence de la manifestation de la présence du traducteur. Le dernier chapitre étudie le devenir de quelques caractéristiques du style de V. Woolf dans les traductions de The Waves par deux écrivains : M. Yourcenar et C. Wajsbrot. La présence du traducteur est indissociable de la traduction littéraire, elle détermine la réception de la littérature étrangère. / Our thesis examines various aspects of the translator's presence in literary translations from English into French. Our study starts with an overview of translation approaches and theories from antiquity to the present, with particular focus on the translator's presence. We then concentrate on literary translators’ relationships with the authors (and texts) they translate. Translators' accounts often reveal mixed feelings of love, hate, desire and/or pleasure, so many strong feelings that are inherent in the translation process. We go on to discuss three specific cases of translator/author relationships. A study of the various traces that translators leave in their translations (both visible and invisible) introduces our corpus-based study. In this part, the role of the translator as negotiator between languages and cultures is analysed through the translations of H. Fielding's Bridget Jones and J. Austen's six novels: the translators' choices, ranging from visibility to invisibility, are examined in depth. The analysis of Austen's translations is an opportunity to look into the problem of translations by multiple authors and their impact on the perceived unity of the works. A diachronic study of the translations of Pride and Prejudice shows that retranslation is the place par excellence where the translator's presence is most apparent. Our final chapter is devoted to the treatment of several features of V. Woolf's style in the two translations of The Waves by French writers M. Yourcenar and C. Wajsbrot. The translator's presence constitutes an integral part of literary translation, and determines the way foreign literature is received.

[pt] A presente dissertação busca analisar o modo como Clarice Lispector foi traduzida e lida em língua inglesa. Desse modo, serão pontuados os contextos históricos e os agentes de dois projetos distintos de tradução: o primeiro, ocorrido entre as décadas de 1960 e 1990, que situou Clarice como uma escritora sobretudo acadêmica e feminista; e o segundo, que vem ocorrendo desde o ano de 2009 e que teve como ponto inicial a biografia de Clarice escrita por Benjamin Moser, no qual Clarice figura como uma escritora estrangeira e canônica. As vertentes teóricas que embasam este trabalho, provenientes dos Estudos da Tradução e que sofreram o impacto da chamada virada cultural da área, auxiliarão na análise dos paratextos que cercam as traduções aqui discutidas, uma vez que atribuem um papel ativo ao tradutor e enxergam a tradução como instrumento de consagração de um autor. Desse modo, a teoria da invisibilidade do tradutor, proposta por Lawrence Venuti, os conceitos de patronagem e reescrita, de Lefevere, e os estudos desenvolvidos por Luise von Flotow e Sherry Simon, que vinculam a tradução às questões de gênero, serão peças integrais para que possamos analisar as diferentes imagens de Clarice Lispector criadas pela via da tradução. / [en] The main purpose of this thesis is to analyze the translation into English of Brazilian writer Clarice Lispector s books and the different readings of her work which surfaced in that language. With that in mind, the historical contexts as well as the agents behind two distinct translation projects will be analyzed: the first project, which took place between the decades of 1960 and 1990, and understood Clarice as an academic and feminist writer; and the second project, which began in 2009 with Lispector s biography, written by Benjamin Moser, and placed her as a foreign and canonical writer. The theoretical frameworks employed in this thesis all originate in the field of Translation Studies and were influenced by the so-called cultural turn. They will be applied to analyze the paratexts accompanying the various translations discussed herein, since they afford the translator a more active role and view the act of translation as a way of acknowledging an author. Thus, the notion of translator s invisibility proposed by Lawrence Venuti, the concepts of patronage and rewriting of Andre Lefevere, and the studies developed by Luise von Flotow and Sherry Simon, linking translation and gender, are essential for analyzing the different images of Clarice Lispector created through translation.