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Thesis (doctoral)--Université de Montpellier III. / Includes indexes. Includes bibliographical references (p. [601]-623).

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also in a digital version from UMI/Dissertation Abstracts International.

Made available in DSpace on 2014-06-11T19:30:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-29Bitstream added on 2014-06-13T20:00:18Z : No. of bitstreams: 1 lacowicz_sd_me_assis.pdf: 599406 bytes, checksum: aa159a1c78431d62062a2b29329e561e (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Navegando por entre-lugares da literatura, aventurando-se pelo universo que surge quando as fronteiras deixam de ser meras linhas divisórias e se expandem enquanto ambientes de múltiplas confluências e significações, nosso trabalho propõe-se a estudar a leitura que dois romances brasileiros contemporâneos fazem dos mitos literários hispânicos de Dom Juan e da picaresca. O feitiço da ilha do Pavão (1997), de João Ubaldo Ribeiro, e O Chalaça (1994), de José Roberto Torero, que podem ser classificadas como romances históricos contemporâneos, privilegiam a releitura crítica dos discursos da história hegemônica, que se processa por recursos como a carnavalização, a ironia e intertextualidade. No primeiro capítulo, focalizaremos a relação que o romance de Torero estabelece com a picaresca espanhola clássica, a partir do jogo de máscaras e níveis narrativos. No segundo, voltamo-nos ao romance de João Ubaldo Ribeiro, discutindo o processo pelo qual o texto, ao dialogar com as narrativas do realismo maravilhoso e do mágico, reitera o mito de Dom Juan. O terceiro capítulo, por sua vez, trata de aproximar os dois romances, pelo espaço de apropriação mítico literário que compartilham, o qual emerge por meio da carnavalização e da metaficção. Ricamente intertextuais, os dois romances encontram-se no cruzamento de suas tessituras com construções discursivas de procedência variada. A retomada do pícaro e de Dom Juan fomenta os aspectos desconstrucionistas do romance histórico contemporâneo, uma vez que os dois se caracterizam como anti-heróis que integram um espaço social ex-cêntrico, contrário às normas instituídas / Sailing through the in-betweenness of literature, adventuring over the universe that appears when the frontiers cease to be mere dividing lines and are expanded to an environment of multiple confluences and meanings, our work proposes to study the reading that some contemporary Brazilian novels make of the Hispanic literary myths of picaro and Don Juan. The novels O feitiço da ilha do Pavão (1997), by João Ubaldo Ribeiro, and O Chalaça (1994), by José Roberto Torero, can be classified as contemporary historical novels, privileging a critical rereading of the hegemonic historic discourses and this is made through resources such as carnivalization, irony and intertextuality. In the first chapter, we focus on the relationship that Torero’s novel establishes with the Spanish classical picaresque, that comes from games of masks and narrative layers. In the second, we look towards Ubaldo Ribeiro’s novel, discussing the process whereby the text, while dialoguing with the narratives of the marvelous and the magical realism, retrieves the myth of Don Juan. The third chapter aims to bring closer both historical novels, by the zone of mythical-literary appropriation which they share, and that emerges through carnivalization and metafiction. Highly intertextual, the two novels meet on the crossing of their own tissue, with discursive building coming from a variety of sources. The recall of picaro and of Don Juan foments the deconstructionist aspects of the contemporary historical novel, once they are anti-heroes that integrate an ex-centric social space, contrary to the established norms

Neste trabalho pretendemos realizar uma leitura do Lazarillo de Tormes que além de considerar o discurso do narrador, Lázaro de Tormes, considere também a voz do autor implícito dentro da obra e a forma como essa voz influencia a construção do sentido dela. Reconhecendo a voz desse autor implícito no prólogo da obra e em meio ao discurso do narrador, é possível identificar a sua perspectiva, que nem sempre coincide com a do narrador. O encontro dessas diferentes perspectivas forma contradições no discurso de Lázaro como narrador, e é na conjunção dessas perspectivas que consideramos formar-se o sentido da obra. / The aim of this work is to accomplish a reading of Lazarillo de Tormes considering the discourse of the narrator and also the voice of the author within the story and how it influences the construction of its sense. By recognizing the voice of this implicit author in the prologue of the story among the narrators discourse it is possible to identify the perspective of the author which is not always the same of the narrator. The encounter of these two perspectives forms some contradictions in Lázaros discourse as the narrator and it is through this conjunction that we consider to be forming the sense of the novel.

Mort and Phil (Mortadelo y Filemón) are one of the most famous Spanish comics in thehistory. As some of the characters of Spanish comic they have been sometimes described aspicaresque. The objective of our study is finding out if Mort and Phil play the role of thepicaro. Our study follows the hermeneutic method, taking into consideration the role of thecomic in Spanish society and the concept of picaresque novel. In order to carry out theanalysis, we will look for the characteristics of the picaresque in three stories of theadventures of Mort and Phil. Along the study we will notice the lack of consensus in order todecide what it can be considered a picaresque novel or what not besides showing allcharacteristics of picaresque are not present in this comic. Therefore, we conclude that Mortand Phil can not be considered a picaresque novel but it could be understood as a work ofpicaresque spirit.

This dissertation analyses the novelette Marara, written by D.P. Semakaleng Monyaise. This work has been previously investigated by critics such as Mogajane, Malope and Mogapi, who focused on its content and style and compared it to other literary works. This dissertation differs from these earlier studies in that it aims to analyse the structure of the text of Marara in depth, focussing on the two levels of structure, namely content and plot. This investigation uses two methods of analysis, namely definition and interpretation, because these approaches will adequately explore the many concepts and ideas related to the analysis of text structure. These methods are applied within the framework of an adapted narratological model. This model suggests that when the content of a text is studied, the concept of the topic should be strongly emphasised; when the plot is investigated the theme should be focussed on; and lastly when the style is examined, then atmosphere is most important. In examining the text of Marara three important concepts related to the novelette are identified, which describe three sub-genres of narratives, namely picaresque, didactic and moral. Picaresque means concerned with a character called picaro, who often embarks on long journeys consisting of sequences of different events and meetings with various characters. This picaro is an ordinary person, not of high social status. His/her weaknesses belittle him/her but he/she is changed by them and so is forgiven. In Marara the protagonist, Rremogolo, is on a journey from his home in Matile, where there is righteousness, to Makgoeng, a place of wickedness. After encountering many problems on the way he realises that he was mistaken to leave his home. He returns to Matile, convinced that it is the best place for him to live. This mistaken journey of temptation can be described as the Makgoeng Motif. Didactic means related to a work designed for institutions of education. Such a work can use as an example the story of a character, either an ordinary person or a person of high social status, who falls because of his/her weaknesses, but then changes and is forgiven. Rremogolo also fits into the didactic frame. Though he is a poor man of low social station, he successfully illustrates the point of the Makgoeng Motif through his fall, which is his failure to achieve financial success in Makgoeng. The moral means concerned with the power of distinguishing right from wrong. The emphasis of moral texts is on good behaviour, on people working and living together co-operatively. This concept can also be related to the plot structure described above, of a person either of high or ordinary social status, who through his/her weaknesses falls, but then changes and is forgiven. When the morality of this story is examined, emphasis is put on the changing of the character, on how the character first does bad things but in the passing of time, and because of the problems he/she encounters, in the end learns his/her mistake, and changes to become a good person. Rremogolo illustrates this exactly, because he begins by abandoning his uncle’s cattle in order to pursue his dream of travelling to Makgoeng, then suffers the results of many problems, realises his mistake, and in the end returns to home and duty. Therefore, careful examination of the text of Marara reveals that in writing this novelette Monyaise mixes three sub-generic categories, namely the picaresque, the didactic and the moral narrative. This makes the novelette difficult to classify, because it is difficult for readers to keep track of generic characteristics in this mix of genres. / Dissertation (MA (African Languages))--University of Pretoria, 2007. / African Languages / unrestricted

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O propósito deste trabalho é mostrar que na concepção do Romance d A Pedra do Reino e o príncipe do sangue do vai-e-volta, do escritor paraibano Ariano Suassuna, estão presentes, como elementos constitutivos, dois (sub)gêneros narrativos de origem hispânica, os livros de cavalaria e o romance picaresco, antagônicos, em sua origem. Fortemente vinculados a um tempo e a um espaço bem definidos, eles passam por adaptações para deslocar-se adequadamente para a ambiência dA Pedra do Reino. O autor incorpora em seu texto um farto acervo de manifestações da cultura popular nordestino-sertaneja (em cujas características híbridas se acentuam os traços de origem ibérica) como catalisador, encaixe e amálgama desses elementos. Recorre-se, no trabalho, à análise comparativa, com o propósito de identificar as marcas dos gêneros aludidos e os mecanismos adaptativos, aos quais recorre o autor. / The purpose of this paper is to show that in the conception of the novel Romance dA Pedra do Reino e o príncipe do sangue do vai-e-volta by the Brazilian writer Ariano Suassuna, the chivalry books and the picaresque novel, two narrative subgenres of Hispanic origin, stand out as constitutive elements. Strongly attached to a well defined notion of time and space, they go through adaptations to suit adequately the environment of the Romance dA Pedra do Reino. The author includes in his narrative an extensive collection of Northeast-centered popular cultural manifestations (in whose hybrid characteristics are stressed out Iberian traits) as catalyst and amalgam of these elements. The comparative analysis is used with the aim of identifying the traits of the gender models considered and the adaptable mechanisms employed by the author.

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.