O que ora apresentamos é um questionamento sobre o papel da interpretação na tradução literária e suas implicações para as questões de recepção. Analisamos diversas traduções em língua portuguesa brasileira de The Tell-Tale Heart, um conto do escritor norteamericano Edgar Allan Poe que apresenta obstáculos tidos como intransponíveis na tradução. A partir da análise comparativa entre o texto em inglês e suas respectivas traduções, analisamos as escolhas de palavras dos tradutores e suas soluções para os itens mais complexos do texto, bem como as diferenças de interpretação de itens lexicais simples. Para fins de embasamento teórico, recorremos a postulados críticos e teóricos diversos tais como os da Literatura Comparada, Teoria Literária, teorias de tradução e interpretação. Inicialmente, fazemos uma análise das contribuições de cada uma dessas áreas, para depois partirmos para as análises propriamente ditas. Com isso, tentamos deixar claro que a tradução de uma obra literária pode ser vista como uma manifestação aculturada de seu texto de partida.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2017-02-01T12:18:50Z No. of bitstreams: 1 2016_JorgeLeitedeOliveira.pdf: 2931802 bytes, checksum: 323f21eff6c6990d4697052bae922ca0 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2017-02-16T19:21:04Z (GMT) No. of bitstreams: 1 2016_JorgeLeitedeOliveira.pdf: 2931802 bytes, checksum: 323f21eff6c6990d4697052bae922ca0 (MD5) / Made available in DSpace on 2017-02-16T19:21:04Z (GMT). No. of bitstreams: 1 2016_JorgeLeitedeOliveira.pdf: 2931802 bytes, checksum: 323f21eff6c6990d4697052bae922ca0 (MD5) / Propõe-se analisar os aspectos relacionados com os espaços fantásticos do Rio mutante na obra de Machado de Assis, com base em uma divisão do trabalho em duas partes: na primeira, analisa-se a representação machadiana dos espaços cariocas, com ênfase nos romances Dom Casmurro, Esaú e Jacó e Memorial de Aires. Na segunda parte, é proposta a teoria espírita ou neoespiritualista de abordagem do fantástico na literatura de Machado de Assis, baseada no chamado fenômeno da obsessão. Objetiva-se atrair a atenção dos teóricos e apreciadores da Literatura, independentemente de sua crença, para o rico material existente na Literatura neoespiritualista, espírita e no próprio Espiritismo, o qual serviu de mote ao “Bruxo do Cosme Velho”, segundo nosso entendimento, para a estruturação de parte de sua obra. A metodologia de estudo de casos foi utilizada nas análises propostas. Para tal finalidade, o referencial da Teoria Literária foi acrescido das obras de Allan Kardec, entre outras obras espiritualistas, e o corpus foi enriquecido dos romances Memórias póstumas de Brás Cubas e Quincas Borba, além de algumas crônicas, bem como de alguns contos, como A igreja do diabo, A cartomante, Entre santos e Um esqueleto, produzidos por Machado. Em seguida às considerações de alguns teóricos, como Bakhtin, Foucault, Todorov, Girard, Doyle e Kardec, entre outros, sobre o insólito e a hesitação de quem apenas conhece as leis naturais, foram propostas formas de definição do fantástico (item 3.3) e a análise da obsessão com base na identificação das características psicológicas e mediúnicas das personagens (item 3.4 e cap. 4). Os romances de Machado de Assis e os respectivos tópicos analisados para a identificação da hipótese da obsessão em seus protagonistas e outras personagens foram os seguintes: Memórias póstumas de Brás Cubas: o espaço da fascinação; Quincas Borba: o espaço da vampirização e da subjugação; e Dom Casmurro: o espaço da obsessão. Chegou-se às seguintes conclusões: já é imenso o espaço ocupado na cultura pela literatura dita mediúnica, em especial, no Brasil. Existe uma vertente da teoria literária voltada para a análise do sagrado literário baseado nas teorias de René Girard e de outros filósofos. Esta tese propõe a inclusão das teorias neoespiritualista e espírita, nas análises literárias, com base nas evidências apresentadas no corpus literário machadiano, bem como na comprovação do rico material espírita e neoespiritualista ainda a ser explorado em proveito da Teoria Literária, associada à análise do sagrado literário. / This dissertation analyzes aspects related to the fantastic spaces of mutant Rio de Janeiro in Machado de Assis’ work. This study is divided into two parts: in the first one, it is examined the representation of Rio de Janeiro spaces, with emphasis on Dom Casmurro, Esaú e Jacó and Memorial de Aires novels; in the second one, it is proposed the neo-spiritualist theory in order to approach the fantastic in Machado de Assis’ narratives, based on the so-called obsession phenomenon. The aim of this analysis is to draw attention to the rich existing material in neo-spiritualist literature, spiritualist and spiritualism itself, on which the “Bruxo do Cosme Velho" structured part of his work. The case study methodology was used in the analyzes. For this purpose, Allan Kardec’ works, among other spiritual works, were added to the literary theory references and the corpus was enriched by Memórias póstumas de Brás Cubas and Quincas Borba novels, as well as some chronicles and short stories, as A igreja do diabo, A cartomante, Entre santos and Um esqueleto. After reviewing some critical considerations of well-known theorists, such as Bakhtin, Foucault, Todorov, Girard, Doyle and Kardec, on the unusual and the hesitation of those who knows only natural laws, this study offers some definitions of fantastic setting (item 3.3) and the analysis of obsession based on the identification of psychological and psychical distinctive features of the characters (item 3.4 and ch. 4). The hypothesis of obsession was drawn from: Memórias póstumas de Brás Cubas: the space of fascination; Quincas Borba: the space of vampirization and subjugation; and Dom Casmurro: the space of obsession. This research reveals that it is already vast the space occupied by the mediumship literature, specially in Brazil. There is a branch of literary theory focused on the analysis of the sacred in literature, which is based on the theories of René Girard and other philosophers. This study proposes the addition of neo-spiritualist and spiritualist theories to the analyses of literary works. It also shows evidence of the rich spiritualist and neo-spiritualist material yet to be brought into the analyses of sacred, for the benefit of the Literary Theory.

The purpose of this literary research project is the analysis of the thematic content as well as the formal devices of five of the poems written by Edgar Allan Poe. In order to connect and find the common concepts that pertains to this research, the following poems were chosen: “Annabel Lee” (1849); “Leonore” (1845); “To Helen” (1831); “The sleeper” (1831); and “Ulalume” (1847). In spite of the importance of poetry for Poe, it is noticeable the lack of pieces of research about this issue when compared with the number of researchers about his short stories. With this in mind, our attempt with this work is to make a study regarding one of the most relevant and recurrent subject in his poems: the presence of women, who were an unsolved issue in his entired life. Five poems have been chosen to this purpose, and converging on the concept of women as ethereal symbols and absent lovers existing beyond the limits of the terrestrial body. These descriptions of an idealized concept of women made contrast with some lewd female characters commonly developed by other American authors that were also concerned with horror stories. Our attempt is to take the transgressive allusions present in these poems in the light of Poe`s own background through his life in the American puritan society.

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica / In this work I will study a particular urban subject present in every society, I will investigate the urban subject of the criminal illustrated in an Edgar Allan Poe’s selection of seven tales. In this case I have decided to rename the criminal as “pariah”. I use this term because I consider that it fits perfectly when defining a person that is “undesirable” and “rejected” by society. The choice of this term is also supported by David Reynolds’s work Beneath the American Renaissance in which he refers to the “asocial” subjects of the urban city as a “pariah”. I have lent this term because I consider that it is suitable to describe the subject being studied. It is also relevant to add that Charles Baudelaire refers to Poe as a “—drunkard pauper, oppressed pariah” (58). The use of the term pariah to refer to Edgar Allan Poe’s protagonists is just a coincidence with Baudelaire’s use of the term.

O que ora apresentamos é um questionamento sobre o papel da interpretação na tradução literária e suas implicações para as questões de recepção. Analisamos diversas traduções em língua portuguesa brasileira de The Tell-Tale Heart, um conto do escritor norteamericano Edgar Allan Poe que apresenta obstáculos tidos como intransponíveis na tradução. A partir da análise comparativa entre o texto em inglês e suas respectivas traduções, analisamos as escolhas de palavras dos tradutores e suas soluções para os itens mais complexos do texto, bem como as diferenças de interpretação de itens lexicais simples. Para fins de embasamento teórico, recorremos a postulados críticos e teóricos diversos tais como os da Literatura Comparada, Teoria Literária, teorias de tradução e interpretação. Inicialmente, fazemos uma análise das contribuições de cada uma dessas áreas, para depois partirmos para as análises propriamente ditas. Com isso, tentamos deixar claro que a tradução de uma obra literária pode ser vista como uma manifestação aculturada de seu texto de partida.

Orientador: Paulo Roberto Ottoni / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-01T04:06:50Z (GMT). No. of bitstreams: 1 Santana_VaneteDutra_M.pdf: 3306063 bytes, checksum: c7ae38e2850774e26667a28b787e59fb (MD5) Previous issue date: 2001 / Resumo: Nos estudos literários, os textos traduzidos têm sido tradicionalmente considerados inferiores ao que se convencionou chamar texto original. Perpassando este conceito de originalidade do texto, encontramos uma série de preconceitos que foram se acumulando ao longo do tempo e que, em parte, devem-se mais a questões de mercado que necessariamente literárias. Porém, a despeito disto, a critica de tradução de caráter tradicionalista segue cobrando da tradução e do tradutor uma fidelidade ao "original" impossível de ser a1cançada,não reconhecendo a diferença como fator inerente à tradução. Ao montar o cenário em que se desenrola o jogo de relações entre originalidade, tradução e mercado editorial, e apontar o papel dos diferentes personagens que atuam neste cenário - escritores do texto de partida e do texto de chegada, teóricos, criticos, professores e editores de tradução -, nosso objetivo nesta dissertação é não apenas demonstrar que a constatada supervalorização do "original" se asseyya sobre um conceito equivocado de originalidade que precisa ser revisto, mas também empreender esta revisão. Para chegarmos a este objetivo, partimos do questionamento dos parâmetros usados por aqueles que consideram a tradução inferior ao "original" para distinguir um do outro. Ao analisar nosso corpus, composto por vários "casos" envolvendo questões de tradução, com destaque para a relação entre Charles Baudelaire e Edgar Allan Poe, chegamos à conclusão de que tais parâmetros não existem, o que implica a impossibilidade de se identificar com total segurança uma tradução quando não se dispõe do que chamamos elementos formais de distinção - nome do autor do original, título original, nome do tradutor e data de publicação do original e da tradução. Ao constatarmos que a inferioridade, em termos literários, não é inerente à tradução e, conseqüentemente, a superioridade não é inerente ao "original", esperamos o devido redimensionamento do valor do "original" e reconhecimento do valor da tradução, enquanto resultado e processo, bem como do tradutor / Abstract: Not informed. / Mestrado / Tradução / Mestre em Linguística Aplicada

Master of Music / Department of Music / Frank C. Tracz / This document was submitted to the Graduate School of Kansas State University in partial fulfillment for the Master’s in Music degree. It contains theoretical, historical, and rehearsal analyses for the Graduate Conducting Recital of Edward Garret Stein. The recital was performed by members of the Kansas State University Symphony Band in McCain Auditorium on Wednesday, March 13, 2007. The concert was intended to be an exploration of three important and diverse chamber works for winds. Selections included Pantomime by Pierre Mercure, Tafelmusik by Godfrey Ridout, and From Chaos to the Birth of a Dancing Star by Allan Gordon Bell. Employed in this report are the analytical methods based on the Blocher/Miles Unit Study from the Teaching Music through Performance in Band series as well as the Tracz concept of macro-micro score analysis.

The purpose of this thesis is to consider the extent to which Edgar Allan Poe’s literary thought influenced Charles Baudelaire, Chapter one will explain when and how Baudelaire became acquainted with the works of the American writer. It will be seen that from his first readings of Poe, the Frenchman was profoundly moved; he felt that he had discovered a “frère spiritual." Baudelaire devoted almost seventeen years to the task of finding out all he could about Poe, writing articles about him and translating many of his works, the latter resulting in what is often considered to be one of the finest translations in literature. In chapter two it will be noted that there were many biographical affinities between the two writers, but that Baudelaire, in his articles on Poe, often emphasized the similarities and alluded only briefly to some of the basic differences. This can be explained by the fact that the French poet was determined that he and Poe should resemble each other. However, if the biographical similarities are often exaggerated by Baudelaire, the esthetic and artistic affinities offer a far more solid basis for comparison. Indeed, as chapter three will attempt to show, both poets shared many of the same precepts governing poetry, such as the ideal length of a poem, the role of music in verse, and the primordial importance of poetry in the life of man. Early critics tended to attribute these similarities to Poe's influence on Baudelaire. Nowadays, however, scholars tend more to ascribe this somewhat unique literary phenomenon to common influences working independently on the two poets. The general consensus is that Baudelaire's esthetic and artistic outlook was almost completely formed before he became acquainted with Poe's works. A chronological examination of some of the Frenchman's poems would appear to corroborate this theory. On the other hand, there are a number of poems which Baudelaire dedicated to a certain Madame Sabatier, in which may be seen ideas, images and even complete phrases which resemble Poe to such a degree that one is all but forced to conclude that they must result from Baudelaire's familiarity with the American's works. Chapter four discusses some of5ssthe more outstanding similarities which occur in this group, known as the "cycle de Madame Sabatier." In conclusion, it may be said that, with the exception of the Sabatier poems, Poe did not transform Baudelaire's fundamental literary outlook and added nothing to his genius. On the other hand, and of the utmost importance in a man of Baudelaire's somewhat unstable make-up, the Frenchman saw in his idol a kind of vindication of his own ideals and derived from him a certain faith in the value of his own genius. Approved as abstract: / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

How do artists scare us? Horror filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audiences. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the genre. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre.

This dissertation examines the way the work of two nineteenth-century American authors, Walt Whitman and Edgar Allan Poe, borrowed from, challenged, and even worked to support prevailing cultural attitudes, conventions, and ideas regarding death, mourning and memorializing as they produced their poems and tales, articulated their thoughts regarding the purpose and act of producing and reading literature, and designed their material book or magazine objects. Using both new historicist and book studies methodologies, it exposes how these writers drew upon literary, ritual, and material practices of this culture, and how, in turn, this culture provided an interpretive framework for understanding such work. In its initial three chapters, which focus largely on Edgar Allan Poe, this dissertation revisits Poe's aesthetic philosophies ("The Poetic Principle" and "The Philosophy of Composition"), much of his most notable Gothic work (such as "Annabel Lee" and "The Raven"), readers' responses to this work, and his own attempts or designs to mass-produce his personal script (in "A Chapter on Autography," "Anastatic Printing," and his cover for The Stylus) in order to revise our understanding of his relationship to this culture and its literary work, exposing a more sympathetic and less subversive relationship than is usually assumed. It illumines how Poe's aesthetic philosophies were aligned with those that undergird many of the contemporary mourning objects of the day, how his otherwise Gothic and macabre literature nevertheless served rather conventional and even recuperative ends by exposing the necessity of and inviting readers to participate in culturally sanctioned acts of mourning, and how he sought to confirm the harmony between his work and more conventional "consolation" or mourning literature by actively seeking to bring that work (and the "self" that produced it) visibly before his readership in a medium that this culture held was a reliable indicator of the nature and intent of both that work and its producer - namely his own personal script. In its latter three chapters, this dissertation illuminates Whitman's own extensive use of mourning and memorial conventions in his work, disclosing the way his 1855 Leaves of Grass relied, in both its literary and physical construction, upon the conventions of mourning and memorial literature, detailing the way his 1865 book of Civil War poetry Drum-Taps sought to unite a national body politic by creating a poetic and material text capable of allowing a grieving public readership to reconnect with and successfully mourn their dead, and how his 1876 Two Rivulets, overtly conceived of as a memorial volume, made use of the conventions associated with mourning and memorializing to bring readers to a more democratic understanding of "self" that Whitman believed would transform America into the democratic utopia it was destined to become. In revealing the way in which these authors' works reflect and reflect upon this culture, its ideologies, rituals, and practices, the dissertation also illumines an otherwise critically underexplored connection between these two writers. It details the influence of Poe's work on Whitman's poetic project, and borrows from Whitman's critical response to Poe in order to recast our understanding of Poe's literature in the manner detailed above. Thus, this dissertation offers new interpretations of some of the period's most canonical literature, alters our thinking about the relationship of these authors to each other and to nineteenth-century sentimental culture, and, finally, exposes a curious interdependence between Gothic and more transcendental literature that has implications not only for reading the work of Whitman and Poe, but for interpreting these literatures more generally.