I have examined the symbolism of the snake in the popular french book The Little Prince (Le Petit Prince), written by Antoine de Saint-Exupéry. The purpose with this study was to get a deeper understanding of the book by finding out what the snake represents. I have used a number of websites and several books to be able to cover the subject, which turned out to be immense. I started by finding out what kind of snake it corresponds to in reality, based on the images and informations given in the novel. I investigated the symbolism of the colour of the snake as well as the symbolism of snakes in different cultures, religions and civilizations. I also examined the fable genre, and the role of snakes in fables, since the novel belongs to this genre. The last part of my essay consists of an analysis of the author to find out why he chose a snake. My conclusion is that he chose the snake (a cobra) for its symbolic meaning of "renaissance" and that the colour is also important for the symbolism of this character.

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A língua geral amazônica (LGA), língua de base tupi, chamada em meados do século XIX de nheengatu (nheenga língua + katu bom, boa), foi mais falada que o português em toda a Amazônia até o término do século XIX. Após uma série de fatores que levaram ao seu enfraquecimento, hoje se concentra na região do Alto Rio Negro, onde é língua oficial do município de São Gabriel da Cachoeira AM. Por ser uma língua historicamente veiculada pela oralidade e pela ainda tímida elaboração de materiais para seu estudo e divulgação, iniciativas relacionadas à tradução ao nheengatu mostram-se como estratégias interessantes a favor da revitalização dessa língua e da contribuição para a consolidação de um registro escrito na mesma. Insere-se nesse contexto a tradução do livro Le Petit Prince, de Antoine de Saint-Exupéry, do francês ao nheengatu. O registro escrito adotado em minha proposta de tradução foi estabelecido com base nos textos em e sobre o nheengatu produzidos entre a segunda metade do século XIX e a primeira do século XX e no confronto desse período com a língua em seu estado atual. Além de aumentar o número de materiais escritos na língua, utilizados principalmente no ambiente escolar amazônico, a tradução proposta nesta dissertação vem acompanhada de uma seção em que apresento comentários a respeito das escolhas tradutológicas adotadas por mim, que se relacionam a aspectos linguísticos e culturais envolvidos no processo tradutório. Com o propósito de contribuir não apenas para o fortalecimento do nheengatu, as discussões sobre questões teóricas e modalidades de tradução também podem se somar às contribuições no campo dos Estudos da Tradução. / The Amazon general language (AGL), a language based on Tupi, known as Nheengatu in the mid XIX century (nheenga language + katu good), was more broadly used than Portuguese in the Amazon area until the end of the XIX century. After a series of factors that led to its weakening, the language now is concentrated in the Alto Rio Negro area, where it is established as the official language of the São Gabriel da Cachoeira town, in the state of Amazonas. Since it is a language that has been historically used orally and the development of materials to study and disclose it is still stagnant, measures related to the translation into Nheengatu have proved to be interesting strategies favoring the revitalization of the language and the contribution for a consolidation of a written register in it. In this context we find the translation of Antoine de Saint-Exupérys book, Le Petit Prince, from French to Nheengatu. The written register adopted in my translation proposal was established based on texts in Nheengatu, and about the language, produced between the second half of the XIX century and the first half of the XX century and the confrontation in this period with the language in its current state. Besides increasing the quantity of material written in the language, used mainly in the Amazon school environment, the translation put forth in this dissertation comes with a section in which I present comments concerning of the translation choices I adopted, which relate to linguistic and cultural aspects involved in the translation process. Aiming at contributing not only to strengthen the Nheengatu language, the discussions on theoretical matters and translation modalities may also add to the contributions to the Translation Studies field.

A língua geral amazônica (LGA), língua de base tupi, chamada em meados do século XIX de nheengatu (nheenga língua + katu bom, boa), foi mais falada que o português em toda a Amazônia até o término do século XIX. Após uma série de fatores que levaram ao seu enfraquecimento, hoje se concentra na região do Alto Rio Negro, onde é língua oficial do município de São Gabriel da Cachoeira AM. Por ser uma língua historicamente veiculada pela oralidade e pela ainda tímida elaboração de materiais para seu estudo e divulgação, iniciativas relacionadas à tradução ao nheengatu mostram-se como estratégias interessantes a favor da revitalização dessa língua e da contribuição para a consolidação de um registro escrito na mesma. Insere-se nesse contexto a tradução do livro Le Petit Prince, de Antoine de Saint-Exupéry, do francês ao nheengatu. O registro escrito adotado em minha proposta de tradução foi estabelecido com base nos textos em e sobre o nheengatu produzidos entre a segunda metade do século XIX e a primeira do século XX e no confronto desse período com a língua em seu estado atual. Além de aumentar o número de materiais escritos na língua, utilizados principalmente no ambiente escolar amazônico, a tradução proposta nesta dissertação vem acompanhada de uma seção em que apresento comentários a respeito das escolhas tradutológicas adotadas por mim, que se relacionam a aspectos linguísticos e culturais envolvidos no processo tradutório. Com o propósito de contribuir não apenas para o fortalecimento do nheengatu, as discussões sobre questões teóricas e modalidades de tradução também podem se somar às contribuições no campo dos Estudos da Tradução. / The Amazon general language (AGL), a language based on Tupi, known as Nheengatu in the mid XIX century (nheenga language + katu good), was more broadly used than Portuguese in the Amazon area until the end of the XIX century. After a series of factors that led to its weakening, the language now is concentrated in the Alto Rio Negro area, where it is established as the official language of the São Gabriel da Cachoeira town, in the state of Amazonas. Since it is a language that has been historically used orally and the development of materials to study and disclose it is still stagnant, measures related to the translation into Nheengatu have proved to be interesting strategies favoring the revitalization of the language and the contribution for a consolidation of a written register in it. In this context we find the translation of Antoine de Saint-Exupérys book, Le Petit Prince, from French to Nheengatu. The written register adopted in my translation proposal was established based on texts in Nheengatu, and about the language, produced between the second half of the XIX century and the first half of the XX century and the confrontation in this period with the language in its current state. Besides increasing the quantity of material written in the language, used mainly in the Amazon school environment, the translation put forth in this dissertation comes with a section in which I present comments concerning of the translation choices I adopted, which relate to linguistic and cultural aspects involved in the translation process. Aiming at contributing not only to strengthen the Nheengatu language, the discussions on theoretical matters and translation modalities may also add to the contributions to the Translation Studies field.

The aim of this study is to analyse the patterns of ancient myths that can be found in the novel Le Petit Prince by Antoine Saint-Exupery. In order to understand the culture and human behavior we will draw parallels to ancient myths and through the discovered myths in the novel, we will use the help of Carl Gustav Jung’s theory about the human psyche. The main questions are the following :  What are the patterns of ancient myths in the novel Le Petit Prince ? Do these myths carry any messages that we, as readers, can learn from ? In the introduction, a theorical backround is given which defines the concept of myth and explains briefly Jung’s theory. Our analysis shows that although myths differ from one another they all have the same roots. By this means, all characters in myths are archetypes that, according to Jung, are the same through history and in every culture. By studying the archetypes in this novel, like the divine child, Anima/Animus, the Sages etc., we are able to understand the plot more clearly. We are also aware of patterns that seem to repeat themselves through the generations. Our conclusion is that humans adapt easily to their surroundings and eventually lose their self-awareness. Therefore Saint-Exupery sends readers the message that we have to wake ourselves up to truly live our lives. Also we discovered that numerous archetypes that are present in all of myths, give us clues to self-realization, thus myths are necessary for people of all ages.

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The purpose of this essay is to investigate the different uses of discourse markers regarding the French to Swedish translation of the book Le Petit Prince by Antoine de Saint-Exupéry. This essay examines the use of discourse markers in both the French and the Swedish version of the book. It has for purpose to see if the discourse markers are used the same way, to depict the similarities and differences in regard to the Swedish translations of the corpus. Moreover, it examines closely the different strategies used for the translation of these discourse markers from French to Swedish. In order to be able to do this analysis, different theories about discourse markers were used for example the theory of Paillard, Lindström, Fraser and also the translation strategies of Ingo and the translation functions of Svane. In conclusion, the interjections of the syntaxial classes are the ones used the most. Moreover, intersubjective, elaborative and particle discourse markers of discourse are the most used when it comes to pragmatism. The similarities and differences can be explained by the time gap between the different corpuses, the different functions and strategies of translation.

In this thesis I propose a new approach to the study of the “childlike” in five works from the first half of the 20th century: Les Enfants terribles (1929) by Jean Cocteau, “Un diamant gros comme le Ritz” (1922) by F. Scott Fitzgerald, La Métamorphose (1915) by Franz Kafka, Le Petit Prince (1943) by Antoine de Saint-Exupéry and L’Arrache-coeur (1953) by Boris Vian. Distinct from both childhood narratives and narratives for children, these texts nevertheless exhibit a childlike quality that can best be described as an in-between state of ambiguity. In the first section of the thesis, I look at the “between” identity of the children. There are children who fly and who are extraterrestrials. There are others who have adult jobs and who even marry. In fact, I call these ambiguous characters, “les enfantins”. In the second section of the thesis, I show that the language is “between”. In 1951, child psychologist Jean Piaget published “La Formation du symbole chez l’enfant”, a work in which he studies the tendency of young children to take one object for another. I show how this type of almost magical thinking that Piaget calls “symbolic thought” appears in the “récit”. In the final section of my thesis, I study areas in the story where the reader finds himself in a “between” position, unable to establish whether what he is reading is occurring or whether it belongs to the imaginary symbolic thought of the child. Here I focus on the readers’ hesitation, contrasting it with the hesitation that Tzvetan Todorov explores in the genre of the fantastic. While this thesis is a close reading of five specific works, it incites several theoretical questions that can be applied more widely to studies concerning the “literary child”: what constitutes a child character in a work, what effect does a child character have on the language of the text, and how does a child character affect the way a text is read? / Thesis (Master, French) -- Queen's University, 2008-02-14 12:16:39.799