[pt] Esta dissertação tem por objetivo identificar e analisar questões pertinentes à tradução da literatura infantojuvenil no contexto sistêmico brasileiro com ênfase nas soluções encontradas pelos tradutores perante os desafios tradutórios enfrentados. Com base nos Estudos Descritivos da Tradução e nos pressupostos teóricos de Gideon Toury, André Lefevere e Lawrence Venuti, é feito um estudo de caso de duas traduções brasileiras do clássico infantojuvenil em inglês Mary Poppins de P. L. Travers, de 1934. O corpus envolve, além do texto fonte de Travers, as traduções de Donatello Grieco, de 1967 (Record), e de Joca Reiners Terron, de 2014 (Cosac Naify). Visando à análise macro e microestrutural, os seguintes elementos são investigados: capítulos e títulos; parágrafos, períodos, orações e pontuação; a linguagem (discurso informal e vocabulário); nomes próprios; o lúdico; questões de gênero; situações pedagógica ou moralmente (in)corretas; a imagem da personagem Mary Poppins; e as ilustrações. A hipótese considerada é a de que os tradutores fazem escolhas e adotam estratégias tradutórias conforme as restrições impostas pelas normas de escrita da literatura infantojuvenil nos respectivos contextos históricos. A fim de entender as exigências e normas desse gênero literário, são analisadas também algumas características específicas da literatura infantojuvenil e de sua tradução: o público duplo formado por leitores infantojuvenis e adultos, bem como os efeitos dessa assimetria de poder; a filiação aos sistemas sociocultural, literário e educacional, assim como as restrições e normas tradutórias decorrentes desse contexto; e, por fim, a posição sistêmica periférica e a possível manipulação textual resultante desse posicionamento. / [en] The purpose of this thesis is to identify and analyze issues specifically related to the translation of children s literature within the Brazilian systemic context focusing on the solutions reached by translators when faced with certain translation difficulties. Based on the Descriptive Translation Studies and the theoretical assumptions of Gideon Toury, André Lefevere and Lawrence Venuti, a case study is conducted involving two Brazilian translations of the children s classic Mary Poppins written in English by P. L. Travers and published in 1934. In addition to Traver s source text, the corpus includes the translation into Brazilian Portuguese made by Donatello Grieco in 1967 (Record) and that of Joca Reiners Terron in 2014 (Cosac Naify). By means of a macro and microstructural analysis, the following items are investigated: chapters and titles; paragraphs, clauses and punctuation; language (informal discourse and vocabulary); proper names; sense of humor issues; gender situations; pedagogic and morally (in)correct aspects; the Mary Poppins character image; and illustrations. The hypothesis is that translators make choices and adopt strategies according to restrictions imposed by children s literary writing norms within historical contexts. In order to understand these requirements and norms, some of the characteristics of children s literature and of its translation are analyzed: the dual audience composed of children and adults, as well as the effects of this power asymmetry; the affiliation to sociocultural, literary and educational systems, as well as the resulting translation restrictions and norms; and, finally, the peripheral systemic position and the possible text manipulation deriving from this status.

This thesis addresses the gap in research on Soviet trickster-women, examining the portrayal of female tricksters in Soviet films of the late Soviet period, looking specifically at two TV- films that achieved cult-status: Pro Krasnuyu Shapochku (1977) and Mary Poppins, do svidaniya (1983). The study challenges the suggestion in Lipovetsky’s Charms of the Cynical Reason: Tricksters in Soviet and Post-Soviet Culture, that female tricksters appearing in Soviet cultural products were always negative, due to the patriarchal nature of the society. Specifically, I look at how trickster traits and functions such as mediation, transgressiveness and liminality are expressed by the characters Krasnaya Shapochka and Mary Poppins, and to what effect. By relying on principles of cine-semiology, I analyse the symbols appearing in the mise-en- scene, as well as the signs conveyed by other technical and formal aspects such as sound and editing, then place the findings in the cultural context of the Soviet 70s and 80s. To the current conceptualisation of Soviet trickster, I add the dimension of the trickster as facilitating healing by addressing existential anxieties in society, bringing them to light. In capturing these anxieties, they have a cultural function as healers, mediating between aspects of the self, and bridging conflicting divisions in society, such as gender differences or more abstract concepts such as “us and Other.”