Abstract One of the key issues in recent translation theories has been on whether translation should domesticate or foreignize the source text. Venuti (1995) defines domesticating translation as a replacement of the linguistic and cultural difference of the foreign text with a text that is intelligible to the target-language reader. Foreignizing translation is defined as a translation that indicates the linguistic and cultural differences of the text by disrupting the cultural codes that prevail in the target language. Other scholars, like Tymoczko (1999), criticise this dichotomy by pointing out that a translation may be radically oriented to the source text in some respects, but depart radically from the source text in other respects, thus denying the existence of the single polarity that describes the orientation of a translation. For my research I have chosen five English translations of Lev Tolstoy’s Anna Karenina, covering over a century of the history of translations into English: Dole (1886), Garnett (1901), Maude (1918), Edmonds (1954) and Pevear and Volokhonsky (2000). My main objective has been to analyse the relationship between earlier and later translations. Since modern English language readers are more familiar with Russian language, literature and culture as well as with Tolstoy’s works than the 19th century readers were, theoretically speaking, translating Tolstoy in 2000 should be easier than it was in 1886. In reality each translator still had to choose between the adequate representation of Tolstoy’s text and the acceptability of their translation for their contemporary English speaking audiences (the terms described in Toury 1995) on a sliding scale between audience and text. In a way, with the higher development of the art and scholarship of translation, the expectations of readers and critics grow, and adequate representation of a text in a different language becomes more challenging. My hypothesis is that literary translation evolves as an exploration of deeper and deeper layers of the source text. In the present thesis I try to show how the history of translation of Anna Karenina into English reflects these different stages of evolution.

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The approach to translating multilingual texts has long been a subject of debate among scholars and translators, sparking discussions on which translational choices and strategies should be employed. An additional challenge occurs when a minority language in a multilingual (or rather, heterolingual) text becomes the target language. In these circumstances, the translator faces the dilemma of choosing how to preserve the Otherness that the non-dominant language conveys in the first text without overly manipulating it or stripping it of its nature. My analysis focuses on the challenges of translating Black Madonna (1982), a novel by prolific Italian-Canadian writer Frank Paci. Like many Italian-Canadian authors, the vast majority of Paci’s novels feature untranslated Italian terms and dialogues throughout the text. The first chapter of this thesis provides an introduction to the author and the basic concepts around which I structure my discourse, such as immigrant writing and the so-called ‘linguistic stones’ (untranslated terms). The section that follows features an overview of the most prominent Italian-Canadian plurilingual writers, as well as a brief analysis of a few selected works with a special focus on Scarpe Italiane (2007), the only novel by Paci to ever be translated into Italian. The research moves on to theories of translation, discussing various strategies and solutions proposed by scholars involved in the debate. The following chapter consists of a commentary in which I support a balance of foreignization and domestication by converting Italian terms into the appropriate regional dialect, since dialect is a prominent element in Paci’s novels. Finally, in the last section, I provide my translation of the novel into Italian.

Sherman Alexie's work revolves around Native Americans—Native Americans who deal with problems such as poverty, alcoholism, transgenerational trauma, modern life, ethnic stereotyping, and institutionalized racism. His voice is thought-provoking, poignant, destabilizing, and also, absolutely funny. His unique approach to heavy political matters offers us a different way of resistance in which people laugh through their tears and maybe change how they react to the issues surrounding themselves. In this thesis, I offer an analysis of who Sherman Alexie is as an author in the United States. I also look into his importance for Turkey in terms of our issues of racism and our understanding of political humour, in hopes of influencing other destabilizing works through his translations. Later, I discuss how he is portrayed in the Turkish literary system by examining two of his translated books, The Lone Ranger and Tonto Fistfight in Heaven (Çılgın Atı Düşlemek) and Reservation Blues (Kızılderiliye Yer Yok), through Lawrence Venuti's views on the foreignization and domestication methods in The Translator’s Invisibility: A History of Translation. Subsequently, I present my translation of "Lawyer's League", "Can I Get a Witness?", "Do Not Go Gentle" and "Flight Patterns" from Ten Little Indians as an alternative translation method. Finally, I analyse the foreignization method in relation to translating Sherman Alexie, before explaining my translation choices.

Esta dissertação apresenta uma tradução comentada de Bahia, um capítulo da obra Xangô. As religiões afro-americanas. Bahia, Haiti, Trinidad (1976), do autor alemão Hubert Fichte, obra ainda inédita no Brasil. O objetivo consiste em propor uma atitude recriadora da escrita fichteana sob a perspectiva diferenciada de quem traduz, mantendo as características do texto-fonte e a marca poética na análise etnográfica, e pela adoção de uma atitude tradutória estrangeirizante, trazer visibilidade para o tradutor. Além disso, a tradução serve como um exercício de análise e crítica da obra, e, por meio de escolhas e justificativas de decisões tradutórias, são revelados os bastidores do processo de tradução. / This master thesis presents a commented translation of Bahia, a chapter of Xangô. As religiões afro-americanas. Bahia. Haiti. Trinidad (1976) by the German author Hubert Fichte a work still unpublished in Brazil. The aim of this thesis is to propose a recreative attitude of the fichtean writing under a differing perspective of the individual who translates, maintaining not only the characteristics of the source-text but also the poetic features in the ethnographic analysis. The work also intends to provide visibility to the translator by adopting a foreign translating posture. In addition, translation itself serves as an exercise of analysis and critique of the work, and through choices and justifications of translating decisions, the underlying efforts of the translation process is revealed.

Este trabalho apresenta uma tradução crítica da narrativa Die Reisebegegnung (O encontro de viagem), da escritora alemã Anna Seghers. Através dessa tradução, discute-se o ato de traduzir, questionando-se o modelo de tradução predominante no mercado editorial, que exige textos fluentes, nos quais se apagam as marcas de estrangeiridade. Esta dissertação propõe uma alternativa ao modelo: destacar o caráter estrangeiro da obra em vez de tentar apagá-lo, proporcionando ao leitor uma experiência com o texto estrangeiro que vá além do conteúdo e chamando sua atenção para questões de linguagem. Isso confere maior espaço e visibilidade para o trabalho criativo do tradutor, explícito aqui por meio do aparato crítico que acompanha a tradução. Essa alternativa se sustenta principalmente nas ideias de Friedrich Schleiermacher, Lawrence Venuti e Antoine Berman, que defendem a tradução chamada de estrangeirizadora, isto é, aquela que abre e garante espaço para o estranho (estrangeiro, fremd) no texto de chegada. / This work presents a critical translation of the narrative Die Reisebegegnung (The travel encounter), by the German writer Anna Seghers. Through this translation, the act of translating is discussed, questioning the translation model predominant in the publishing market, which requires fluent texts and in which the foreignness marks become extinguished. This dissertation proposes an alternative to the model: highlighting the foreign aspect of the work instead of trying to delete it, providing the reader with an experience of the foreign text that goes beyond the content and drawing his/her attention to language issues. This procedure gives more room and visibility to the creative work of the translator, made explicit here through the critical apparatus following the translation. Such an alternative is supported mainly by the ideas of Friedrich Schleiermacher, Lawrence Venuti and Antoine Berman, who defend the so-called foreignizing translation, i.e., the one that makes and warrants room for the strange (foreign, fremd) in the target text.

Submitted by Lara Dalperio Buscioli (lara.dalperio@gmail.com) on 2017-03-15T13:11:33Z No. of bitstreams: 1 DISSERTAÇÃO_FINAL_08032017.pdf: 12322965 bytes, checksum: f55e54d80beac3bb913865b10e5c1f6a (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2017-03-21T14:17:55Z (GMT) No. of bitstreams: 1 buscioli_ld_me_prud.pdf: 12322965 bytes, checksum: f55e54d80beac3bb913865b10e5c1f6a (MD5) / Made available in DSpace on 2017-03-21T14:17:55Z (GMT). No. of bitstreams: 1 buscioli_ld_me_prud.pdf: 12322965 bytes, checksum: f55e54d80beac3bb913865b10e5c1f6a (MD5) Previous issue date: 2016-12-19 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O processo de estrangeirização de terras deve ser analisado a partir da sua dimensão histórica e refere-se ao arrendamento e/ou compra de empresas/grupos estrangeiros em outros países. Este processo foi intensificado a partir da crise de 2007/2008 quando ocorreu um aumento da procura de terras para produzir commodities gerando conflitos e impactos territoriais, mesmo com o discurso embasado no crescimento econômico, na sustentabilidade, na geração de emprego e na segurança alimentar dos países alvos deste processo. Neste trabalho, discutimos o processo de estrangeirização de terras no estado do Mato Grosso do Sul, com foco no município de Rio Brilhante no que tem uma produção expressiva de cana-de-açúcar e territorialização do grupo francês Louis Dreyfus Commodities (LDC). Este processo gera conflitos territoriais nos assentamentos de reforma agrária por meio da luta do Movimento dos Trabalhadores Rurais Sem Terra e no território indígena Laranjeira Ñanderu pertencentes aos Guarani-Kaiowá. Os impactos causados pelo processo de estrangeirização nestes territórios estão vinculados à: 1) produção de alimentos – com a perda da produção camponesa e indígena devido à pulverização do agrotóxico utilizado nas lavouras de cana-de-açúcar; 2) ambiental – com a intoxicação do solo/águas devido à pulverização e a morte da fauna/flora do território; 3) saúde – relacionadas aos problemas respiratórios, gastrointestinais e de envenenamento/intoxicação destes sujeitos; e por fim, 4) dificulta o processo de demarcação do território indígena e realização da reforma agrária, bem como nos modos-de-vida. Diante de tais questões, estes sujeitos organizaram formas de resistências para continuarem nestes territórios: os indígenas com ações de retomada territorial e consolidação com o acampamento-tekoha Laranjeira Ñanderu; com sua cultura reproduzindo seus ritos, crenças e costumes dando caráter e sentido ao seu território; e manifestações com bloqueios de vias de acesso. Já os camponeses resistem com produção e comercialização para o Programa de Aquisição de Alimentos e feiras nos municípios de Maracajú e Rio Brilhante; com seu trabalho familiar e coletivo nos lotes; com suas manifestações e reuniões com o objetivo de impedir a entrada da LDC nos assentamentos por meio da sua produção e do tráfego de seus caminhões. / The process of land foreignization should be analyzed from its historical dimension and refers to the leasing and/or purchase of land by foreign companies/groups in other countries. This process intensified from the crisis of 2007/2008 when there was an increase in the demand for land to produce commodities, generating conflicts and territorial impacts, even with the discourse based on economic growth, sustainability, employment generation and food security of countries targeted by this process. In this work, we discuss the process of land foreignisation in the state of Mato Grosso do Sul, focusing on the municipality of Rio Brilhante, which has an expressive production of sugarcane and territorialization of the French group Louis Dreyfus Commodities (LDC). This process creates territorial conflicts in agrarian reform settlements through the struggle of the Landless Rural Workers Movement and indigenous territory Laranjeira Ñanderu belonging to the Guarani-Kaiowá. The impacts caused by the process of land foreignisation in these territories are linked to the: 1) food production - with the loss of peasant and indigenous production due to the spraying of agrochemicals used in sugarcane plantations; 2) environmental - with soil/water poisoning due to spraying and the death of the fauna/flora of the territory; 3) health - related to respiratory, gastrointestinal and poisoning / intoxication problems of these subjects; and finally, 4) makes difficult the process of demarcation of the indigenous territory and realization of agrarian reform, as well as in the ways of life. Faced with such questions, these subjects organized forms of resistance to continue in these territories: the indigenous with actions of territorial resumption and consolidation with the tekoha encampment Laranjeira Ñanderu; with yours culture, reproducing yours rites, beliefs and customs giving character and sense to yours territory; and agrarian protests with road obstruction. The peasants, however, resist through of production and commercialization for the Food Acquisition Program (PAA) and fairs in the municipalities of Maracajú and Rio Brilhante; with their family and collective work in the lots; with its agrarian protests and meetings with the objective of prevent the entry of LDC in the settlements through their production and the transit of their trucks. / FAPESP: 2014/03633-7

The overall aim of this thesis is to analyse the social consequences of a transnational corporation(TNC) from the global North investing capital in the global South, and the communal processes that evolve in response. The study highlights the TNC’s construction of leadership and domination in the areas in which it settles, as well as the forces of popular resistance to the TNC’s exploitation of the region’s natural resources and the resulting socio-environmental conditions. The study is based on empirical fieldwork (including 22 interviews) carried out in Uruguay and Argentina related to the establishment of a pulp mill by Botnia/UPM. The analyses focus on discursive processes whereby the TNC establishes itself in the community. The found patterns are discussed in the thesis based on the following themes: “Making the TNC indispensible” ; “Dominating the spaces of communication” ; “Controlling the narratives” ; “Contradictions of external and internal colonialism” and “Establishing and maintaining hegemony”. All of these have to do with socio-political and discursive strategies and circumstances whereby the TNC—symbolically and materially— becomes a powerful force in the country and community where it establishes itself. This creates certain social positions, and gives rise to tensions within a number of areas. In relation to these processes, the thesis also highlights the formation and mobilization of resistance against the changing social, cultural and economic conditions created through the arrival of the TNC. What appears to be crucial for the deployment of a successful counter-force is the creation of spaces for organisation, for practices of resistance and to sustain democratic values and practices. This makes the social movement an autonomous voice that incarnates disobedience against thestate, the juridical international apparatus and the hegemonic practices of TNCs.

Yann Apperry’s third novel, Diabolus in musica, is a pastiche of diabolic and gothic tropes that tells of a musical genius who composes a ballade that kills. Resurrections, doppelgangers and triads are reoccurring themes. Although the narrator kills his doppelganger on the first page, the name of this double, Lazarus, haunts the narrative with the threat of resurrection. Similarly, the threefold tritone, the “diabolus in musica,” is not only echoed in the numerical structure of Apperry’s novel but also in the familial triad: the father’s presence is dark and demoniac, provoking the cruel music that the son in turn forces onto the exterior world; the mother is a ghostly distillation of the Eternal Feminine. In terms of comparative readings, Diabolus can be read alongside Suskind’s Perfume as the Bildungsroman of an outsider raised without love who turns astounding genius to homicidal ends. It shares narrative and structural similarities with Mann’s Doctor Faustus: each tells of a prodigy who composes music and a faithful sidekick who composes narrative; each arranges his novel according to number. Nabokov’s influence on Apperry’s work is also significant; many parallels are to be found with his third novel, The Defense. Approaches to translation diverge according to their foundational conceptions of language: do we create language or does language create us? To conclude the former is to adopt an approach that focuses on the meanings of source texts while to conclude the latter is to focus more on their formal properties. Caught between these differing conceptions, the translator must choose between domestication and foreignization; I favour the latter for literary translation. I define the literary through a reading of the aesthetic in Dauenhauer and Kristeva, and then I review the arguments that Benjamin, Derrida, Berman and Venuti make in favour of word-based translation. From this I conclude that translation can, in refusing to hide its foreign origins, lead readers into the unknown territory of a strange language, author and text, where they become strangers, and where their language and culture become foreign. With this partial translation of Diabolus, I seek to provoke such an encounter with foreignness.

Yann Apperrys third novel, Diabolus in musica, is a pastiche of diabolic and gothic tropes that tells of a musical genius who composes a ballade that kills. Resurrections, doppelgangers and triads are reoccurring themes. Although the narrator kills his doppelganger on the first page, the name of this double, Lazarus, haunts the narrative with the threat of resurrection. Similarly, the threefold tritone, the diabolus in musica, is not only echoed in the numerical structure of Apperrys novel but also in the familial triad: the fathers presence is dark and demoniac, provoking the cruel music that the son in turn forces onto the exterior world; the mother is a ghostly distillation of the Eternal Feminine. In terms of comparative readings, Diabolus can be read alongside Suskinds Perfume as the Bildungsroman of an outsider raised without love who turns astounding genius to homicidal ends. It shares narrative and structural similarities with Manns Doctor Faustus: each tells of a prodigy who composes music and a faithful sidekick who composes narrative; each arranges his novel according to number. Nabokovs influence on Apperrys work is also significant; many parallels are to be found with his third novel, The Defense. Approaches to translation diverge according to their foundational conceptions of language: do we create language or does language create us? To conclude the former is to adopt an approach that focuses on the meanings of source texts while to conclude the latter is to focus more on their formal properties. Caught between these differing conceptions, the translator must choose between domestication and foreignization; I favour the latter for literary translation. I define the literary through a reading of the aesthetic in Dauenhauer and Kristeva, and then I review the arguments that Benjamin, Derrida, Berman and Venuti make in favour of word-based translation. From this I conclude that translation can, in refusing to hide its foreign origins, lead readers into the unknown territory of a strange language, author and text, where they become strangers, and where their language and culture become foreign. With this partial translation of Diabolus, I seek to provoke such an encounter with foreignness.