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1
Héroux, Natalia. "Translating Hysteria: Women and Madness in the English Translation of Ariana Harwicz's La débil mental". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37814.
Testo completoAbstract (sommario):
This thesis is divided into two main parts. The first part establishes the theoretical framework that served as a guide for my English translation of the short novel La débil mental by Argentinian author Ariana Harwicz, and consists of three chapters. Due to the novel’s narrative style and subject matter, my translation approach was centered on the topic of female madness in literature. Therefore, the first chapter examines feminist theories of translation and their relevance to the project at hand. The second examines the topic of madness in literature, and pays particular attention to depictions of women with mental illnesses in literary works. Then, in the third chapter, I will attempt to draw on the previous two chapters to develop an approach to translating female madness, and examine specific choices made in my translation of La débil mental in that light. Finally, the second main part of the thesis consists of my translation of the novel.
2
Schaffer, Ana Maria de Moura. "Representações de tradução de genero no dizer de tradutoras brasileiras". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269712.
Testo completoAbstract (sommario):
Orientador: Maria Jose de R. F. CoraciniTese (doutorado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-15T16:15:35Z (GMT). No. of bitstreams: 1 Schaffer_AnaMariadeMoura_D.pdf: 850073 bytes, checksum: 886933aa9e9040737a3d26a36e661fe0 (MD5) Previous issue date: 2010
Resumo: A tese, ancorada na perspectiva da Análise do Discurso, em interface com a Desconstrução, investiga e discute a presença de tradução de gênero no contexto brasileiro e as representações de tradução de gênero que emergem no dizer de tradutoras brasileiras. Recortes discursivos selecionados, a partir das respostas de 21 (vinte e uma) tradutoras brasileiras a um questionário de 5 (cinco) perguntas, enviado por e-mail para duas listas de tradução que circulam no Brasil, foram analisados, buscando na materialidade linguística e nas formações inconscientes que nela irrompem, indícios da constituição do imaginário dessas tradutoras sobre tradução de gênero. O pressuposto que sustenta a investigação defende que já há uma prática de tradução de gênero no contexto quebeco-canadense, desde a década de 1970, cuja relação vem sendo discutida e problematizada, sem conflitos. O estudo que empreendemos para compor a fundamentação teórica pautou-se, inicialmente, no interesse de problematizar o encontro entre o feminismo e a tradução, discutindo como a tradução de certos grupos feministas serviu de agenda política para, de alguma forma, subverter a inferioridade sofrida pelas mulheres na escrita tradutora. A análise aponta para os seguintes resultados: há ainda muita resistência quanto à relação gênero e tradução, pelo menos, no que se refere à discursivização sobre o assunto, no Brasil, já que a temática evocou relações com os múltiplos feminismos da história e tudo o que isso simbolicamente representa, incluindo as lutas nele travadas, as resistências aos radicalismos do feminismo inicial e aos rótulos e estereótipos a ele vinculados. Daí que as representações de tradução de gênero que emergem do dizer ou ressoam sentidos de luta social, ou se fixam no domínio técnico da língua ou são imaginarizadas como expressão de criatividade e autoria, mesclando-se para instituir momentos de identificação aliados à singularidade das tradutoras. As tradutoras, quando falam sobre o seu fazer tradutório, defendem o emprego de uma linguagem inclusiva de gênero, por meio de interferências nos textos considerados por elas "machistas", todavia tais interferências ainda parecem estar muito presas ao nível da linguagem. Considerando-se os limites dos registros do corpus da pesquisa, a hipótese de que há vestígios de tradução de gênero no dizer sobre/na prática tradutória de tradutoras brasileiras na atualidade mostrou-se válida, pois não só há vestígios de tradução de gênero no dizer sobre tradução, como também emergiram nos dizeres efeitos de sentido que apontam para uma constituição identitária das tradutoras já inseridas no contexto de um emprego de uma linguagem mais inclusiva nas traduções por elas praticadas.
Abstract: The research anchored in the perspective of Discourse Analysis in the interface with Deconstruction investigates and discusses the presence of gender translation in Brazilian context as well as the representations of gender translation which emerge from the utterances of Brazilian female translators1. The discursive events selected from twenty one female translators' answers to five question sent by e-mail to translator lists (Tradinfo and Litterati) were analyzed, trying to identify through linguistic materiality, elements involved in the constitution of the imaginary of those female translators about gender translation as well as fragments of their unconscious formations, which can reveal some aspects of their subjectivity. The basic assumption of this research is that there has been a gender translation practice in Quebec-Canada context since 1970's where translation and gender has been discussed and practiced normally. The readings and researches we made to support our theoretic foundation were ruled by the interest of problematizing the encounter between translation and feminism, in order to discuss how the translation of some feminist groups has served as a political agenda for subverting the female inferiority by means of translation writing. The results of the analysis points to the fact that there is still so much resistances about the relationship between gender and translation in Brazil, at least as regards to the discursivization process of the theme, since gender translation has evoked relationships with the different feminisms of history and with everything they symbolically have represented, including the struggles and the resistances against radicalisms of the initial feminisms besides the labels and stereotypes connected to them. Thus the representations of gender translation which emerge from the female translators' utterances remit either to the social struggles of feminisms, circulating around the technical dominion of language or they are represented as expression of creativity and authorship. So those representations interweave for constituting identification moments which relate to female translators' singularity. By speaking about their translation itself, the female translators defend the use of a gender inclusive language through interferences on the texts considered by them as "machist text". Considering the limits of the corpus the hypothesis that there are vestiges of gender translation in the Brazilian female translators' utterances is confirmed, since there are no only vestiges as well as the meaning effects which emerged from the utterances point to a female translator who has already been using a more inclusive language in her translations.
Doutorado
Teoria, Pratica e Ensino da Tradução
Mestre em Linguística Aplicada
3
Tang, Beibei. "Feminist translation equivalence and norms : gender and female alienation in Chinese translation of Chinese American women's literature". Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/53276/.
Testo completoAbstract (sommario):
Drawing on three Chinese translations each of Amy Tan's The Joy Luck Club (1989) and The Kitchen God's Wife (1991), this project examines, from a feminist perspective, gender issues in Chinese translations of Chinese American women's literature, with special attention paid to the translators' gender consciousness and ideologies as reflected in their translations of 'female alienation'. Existing studies on Chinese American women's literature, in both America and mainland China, mainly address identity politics, culture, Orientalism, and feminism, and fail to consider the role of translation. This project, however, analyses both the feminist consciousness and the issues which are reflected in these two novels and in their Chinese translations. This project innovatively applies the feminist concept of 'female alienation' to literary translation studies. The concept of 'female alienation', which originates from Karl Marx's theory of labour alienation, is developed by Alison Jaggar through feminist discussions of women's oppression and subordinate status. Women in a patriarchal society are alienated by men's power and separated from their self and nature; this leads to their loss of subjectivity and independence. Jaggar believes that women are alienated in all aspects of their lives, particularly in their sexuality, motherhood, and intellectual capacities, and this project discusses the influence of race and self-Orientalization on that alienation. Indeed, it enriches Jaggar's concept of female alienation by adding sisterhood alienation. A new classification is then proposed to study different patterns of alienation and women's psychological experiences with it, both active and passive, as reflected in Tan's works and the Chinese translations of those works. In terms of translation studies, this project combines translation equivalence and norms theories with feminist translation theory; it proposes a set of feminist translation norms and a concept of feminist translation equivalence to study feminist translation in the Chinese context. Feminist translation norms include feminist preliminary, expectancy, operational, accountability, communication, and relation norms. It is the feminist preliminary and expectancy norms that are used to analyse the translators' motives, intentions, and expectations of their translation. The feminist operational norm is used to analyse the translation strategies adopted by the translators. The feminist accountability norm refers to feminist translation ethics of fidelity; that is, the translation must be faithful to the writer's, or the translator's, own feminist consciousness, thoughts, and intentions. The feminist communication norm means that translations convey the writer's, or translator's, own feminist thoughts to the maximum possible extent. The feminist relation norm means that the relationship between the translation and the source text is the feminist translation equivalence, which means that the feminist thoughts reflected by the words or expressions in the source text, or by the translators' own feminist thoughts, are "faithfully" represented in the translation, even if the translator does not use the precisely equivalent words or expressions to achieve linguistic equivalence. Comparing the Chinese translations in order to study the translators' translation behaviours and the effects of their translations, this project explores how the feminist consciousness and thoughts on female alienation of the source text are represented in the Chinese translations, and in what way the translations achieve (feminist) translation equivalence. Summarising the regularities of the translation behaviour of the translator subgroups, and the (feminist) translation equivalence the translations achieve, this project provides evidence that the feminist translation ethics of fidelity do not necessarily contradict the traditional translation ethics of fidelity which focuses on linguistic equivalence. Meanwhile, it also verifies that so-called "feminist translation strategies" actually refer to all translation strategies which help the translations achieve feminist translation equivalence. This corrects the research misconception concerning feminist translation strategies in mainland China. Finally, by examining the translators' motives and expectations, reflected in their paratexts as well as in the translations, this project summarises feminist translation norms in the Chinese context, and defines the role of gender in translating female alienation in the texts in question.
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Bichet, Marlene. "Exploring the translation of feminist philosophy : Simone de Beauvoir's Le deuxième sexe". Thesis, University of Salford, 2016. http://usir.salford.ac.uk/40993/.
Testo completoAbstract (sommario):
The thesis explores the second English translation of Simone de Beauvoir’s Le Deuxième Sexe, with the objective to contribute to bridging the gap between Gender Studies and Translation Studies. My contention is that foreignization, often presented in the literature as a more ethical approach to translation (see Venuti for instance), is not necessarily the most adequate translation strategy to render texts of feminist philosophy. Therefore, the main research question which the thesis investigates is the extent to which translation can help or otherwise impede on the reception of feminist philosophy. The study is specifically based on the case study of Simone de Beauvoir’s Le Deuxième Sexe, which was first translated into English in 1953, then retranslated in 2009. De Beauvoir’s magnum opus is a model of feminist philosophy and widely influenced the field, so that having an accurate English translation of her work is critical. The case study analyses the translation of some key features of the text, such as core Existential terminology, along with gender-related terms, as well as the treatment of intertextuality in the latest English translation. It also describes the overall translators’ project as presented through paratext, arguing that a domestication approach can be a beneficial approach to translate feminist philosophy. Chapter One will present introductory background information on Simone de Beauvoir’s work in Le Deuxième Sexe, namely the main ideas developed in the book, as well as an overview of the story of the first English translation, and its reception. Dealing with reception will lead us to question the notion of reception in Literary Studies and Translation Studies and the central role of the translator in Chapter Two, which will be narrowed down to faithfulness, a prevalent if somewhat contested notion in translation criticism, in Chapter Three. Chapter Four will examine the latest English translation, before sketching the frameworks of Contrastive Linguistics and Intertextuality in Chapter Five. Finally, Chapter Six will concentrate on the data analysis through a systematic comparison of relevant categories. This chapter findings will lead us to put forward comments and proposed strategies to deal with feminist and philosophical translation.
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Prandini, Beatrice. "Femminismo nel genere letterario Young Adult: analisi del fenomeno attraverso la prosa di Holly Bourne e proposta di traduzione di What’s a Girl Gotta Do?" Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/17755/.
Testo completoAbstract (sommario):
This final dissertation is aimed to analyse the different ways in which feminism can influence and convey its ideas and values through literature, especially Young Adult fiction. In fact, this dissertation relies upon the translation of various paragraphs of Holly Bourne’s YA novel, What’s a Girl Gotta Do?
As for the structure of the dissertation, the first chapter will explore the contributions to literature of feminist translators and critics, by illustrating their aims and strategies. As evidence, the second chapter will establish a general framework regarding the role of women in the history of the Italian publishing market. Moreover, the chapter also contains a study that I performed analysing the digital catalogues of five different Italian publishing houses: Arnoldo Mondadori Editore, Fanucci Editore, DeA Planeta Libri, Casa Editrice Nord and Il Saggiatore. From the third chapter on, the focus is shifted to Young Adult literature, so the chapter will introduce thoroughly this type of narrative, by illustrating its features, its main themes and its role in conveying feminist values to teenagers. Then, the following chapter will focus on Holly Bourne, by presenting her biography and her novels, however the emphasis will also be on her idea of feminism and on the introduction of the main characters of What’s a Girl Gotta Do? The fifth chapter will delve into the feminist critical analysis of the novel, by taking into consideration the main themes of the book, particularly feminism, the way in which the main female characters are portrayed and the nature of their relationship with male characters. In the end, it will be considered if the novel provides young readers some positive and realistic female role models. Finally, the last chapter will present the translation of the selected paragraphs of What’s a Girl Gotta Do?, including an analysis of the difficulties faced during the translation process and the solutions adopted.
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Lew, Margaret Elizabeth. "Feminist critique and the Pueblos as textual : an architectural translation of Monique Wittig". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/75979.
Testo completoAbstract (sommario):
Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH
Includes bibliographical references (p. 118-121).
This thesis poses the question of a feminist architecture that is not based on 'women' per say - their involvement as architects, their difference, or as users - but on the possibilities 1), of the world as perceived, described, invented in feminist theory, and of the facts 2), of the spatial and building systems created by Pueblo women. I have looked to feminist research and critical theory, first, to expand its critique of gender, (as a cultural not a biological construct), to include architecture; secondly, to find suggestions and characteristics of alternative constructions. The pueblos provide an architectural text, an example of the kinds of places women make when they are the ones to shape the built environment. Both address in their respective ways questions about the relationship between public and private, between 'units', and how boundaries are characterized and transgressed. Drawing on both, I make a schematic design that suggests the architectural qualities that could result from these principles. The thesis follows in principle one general feminist methodology: The 'peeling away of the layers' of cultural assumption and determinism through the analysis of remains, remnants, and fragments whether archaeological, linguistic, etc.; Finally, the critique becomes invention and transformation. The task is to find in theory (feminist); artifact (the pueblos); and experiment (the fictional writing of Wittig) - themes, elements, and attitudes which can have spatial, perceptual, and, thus, architectural significance. A portion of the thesis rests on what I have construed to be some aspects of feminisms' affinity with the complex structuring and observational methods of Maurice Smith's form language and with the spirit of user participation and intervention in John Habraken's thematic design methodology. My assumption is that feminism can help expand and enrich the theoretical foundation of that work. And vice versa - that it can introduce theories of form and organization into the feminist critique of architecture.
by Margaret Elizabeth Lew.
M.Arch.
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Bogic, Anna. "Our Bodies, Our Location: The Politics of Feminist Translation and Reproduction in Post-socialist Serbia". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36017.
Testo completoAbstract (sommario):
The dissertation studies feminist knowledge production through translation in the context of post-communist Eastern Europe. It focuses on one case study, the Serbian translation of the American feminist health classic Our Bodies, Ourselves (OBOS) through the lens of the politics of translation and reproduction. The translation, Naša tela, mi (NTM), was published by a group of feminist activists from the Autonomous Women’s Centre (AWC) in Belgrade, Serbia in 2001. By focusing on this one case study, my dissertation offers an in-depth analysis of the political, social, linguistic, and feminist dimensions implicated in the transfer of a Western feminist project from one geopolitical location to another, to a post-socialist, post-conflict Eastern European country in the 1990s.
Against the background of the Yugoslav wars and the influence of ethno-nationalism in the 1990s, I examine the development of domestic and transnational feminist networking, including the Belgrade feminists’ work with victims of domestic and sexual violence and refugees. I assess the extent to which NTM serves as oppositional discourse to the changing politics of reproduction and pronatalist discourses around abortion and fertility in Serbia in this period. Furthermore, I analyze NTM’s contribution to local feminist knowledge on women’s reproductive health, rights, and sexuality. I emphasize the importance of the local context, including the history of abortion access and traditional gender relations. Methodologically, the dissertation is based on interview data, archival documents, and comparative textual analysis.
The dissertation draws attention to feminist knowledge production across uneven geopolitical borders, translation flows across the East-West divide, and the role of English in transnational feminist networking. The dissertation brings together the politics of translation and the politics of reproduction and calls for further studies into the role of translation in transnational feminist patterns of knowledge production.
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Camargo, Sarah Valle. "Traduzindo Twenty-one love poems de Adrienne Rich: ambivalência rítmica como re-visão da tradição". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-25032019-121336/.
Testo completoAbstract (sommario):
Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear.This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.
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Basilio, Elena. "The translation of American radical feminist literature in Italy : the case of "Donne è bello"". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/18029.
Testo completoAbstract (sommario):
This thesis analyses the role played by the translation process in the diffusion of some North American radical feminist concepts in Italy and, in particular, focuses on Donne è bello, a volume which has been selected as a case study because of the particularly important role it played within the Italian feminist movement and also because of the particular circumstances of its creation. The introduction (chapter one) states the research questions and briefly explains the reasons that led to the focus on this specific volume. Chapter two focuses on the methodology adopted, which was inspired by Toury's descriptive translation analysis but was also adapted to the needs and characteristics of this research. Chapter three provides some basic historical information regarding the Italian and North American feminist movements. Particular attention is devoted to the second wave of feminism in both countries and to the characteristics that they had in common. Subsequently, chapter four focuses on the Anabasi movement and on the volume Donne è bello, which constitutes the focus of this research. This chapter also provides some unpublished information about the Anabasi collective and about Donne è bello provided by Serena Castaldi, the founder of this group. The second half of this thesis (chapters five, six and seven) concerns the textual analysis of some features of Donne è bello in order to reconstruct the translation process and assess the reception of the translation by Italian readers. In particular, the aspects analysed include the sexual revolution, the role traditionally played by women in society and the practice of consciousness-raising, which had great importance for Italian feminists. Finally, chapter eight summarizes the results of the research and provides answers to the research questions raised in the introduction.
10
Barrera, Gutierrez Olivia. "Cleopatra y Antonio: a Critical Study and a Creative Writing Project based on Shakespeare's Anthony and Cleopatra (1623)". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584016082083613.
Testo completo
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Sharifi, Sima. "Manufactured Veils: A Study of Two Canadian Feminist Novels in Persian Translation after the 1979 Iranian Revolution". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35677.
Testo completoAbstract (sommario):
The patriarchal legal system and the socio-cultural institutions of the Islamic Republic of Iran (IRI) relegate Iranian women to second-class citizens. Yet, Canadian feminist texts such as Margaret Atwood's The Handmaid's Tale (1985) and Carol Shields's Unless (2002) have been translated into Persian, in 2003 and 2005 respectively. Moreover, they circulate freely and are found in Iran’s National Library. This seeming discrepancy needs a systemic and contextually-based explanation. Four questions guide my dissertation: What happens to the texts as they cross the cultural boundaries into the receiving society? Specifically, which features of feminist texts are most vulnerable to censorial interventions and what does that reveal about the interplay of the hegemonic theocratic-patriarchy and translation? Finally, how is the Persian translation of feminist texts even possible, given Iran’s legal, political and socio-cultural antagonism toward women’s autonomy? In other words, what factors mitigate such translations?
To answer these questions, I outline the legal representation of women in the legal discourse and the socio-cultural attitudes towards women’s rights in Iran subsequent to the (1906-1911) Constitutional Revolution and the 1979 Revolution, which led to an Islamist government. I examine the impacts of the IRI’s androcentric legislations on women’s rights, and the censorship mechanisms on Persian and imported feminist literature. I explore the types and extent of resistance to censorship, and I study the representation of women in school textbooks, cinema and Persian literature to analyze the impact that the interaction between the legal discourse, censorship and resistance has on cultural products. I conduct a comparative text analysis using theories of feminist linguistics and descriptive translation studies (Toury 1995; Cameron 1985, 1995) to investigate the extent to which patriarchal mechanisms influence the translation of the two novels. The goal is to determine how the legal and socio-cultural discourses of the target society affect the form and meaning of the translation, and to identify translation strategies that undermine the very features that make a novel female-centric. I demonstrate how these translation strategies consistently produce target texts that conform to the state-sponsored patriarchal agenda, and synchronize with the gender values and norms of the IRI.
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Nunes, Jennifer Marie. "“Afternoon, a Fall”: Relationality, Accountability, and Failure as a Queer-Feminist Approach to Translating the Poetry of Yu Xiuhua". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494231761761609.
Testo completo
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Kranauskaitė, Agnė. "Informal register in prose fiction and problems of translation into Lithuanian: an analysis of feminist bestsellers Sex and the City and Lipstick Jungle by Candice Bushnell". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080805_134728-02977.
Testo completoAbstract (sommario):
The aim of the thesis is to analyze informal register in prose fiction. The analysis focuses on the representation of text messaging, foreigners’ oral discourse, swear words and references to sexual activities, as well as parts of the body in both the original and translation of feminist bestsellers Sex and the City (1997) and Lipstick Jungle (2005) by Candice Bushnell. The analysis is based on the theory of feminist bestseller and the use of spoken discourse in written language.
The paper is divided into six parts and also includes eight appendices. Part One introduces the aim of the paper and gives a short summary of the feminist bestsellers Sex and the City (1997) and Lipstick Jungle (2005) by Candice Bushnell. Part Two presents a short history of feminist bestseller and outlines the theoretical background for the analysis. Part Three focuses on the informal register in prose fiction, namely in the feminist bestsellers. Further, Part Four discusses the differences between spoken and written language, as well as ways to imitate spoken language in the literary translation. An analysis of the cases found in the two feminist bestsellers is presented in Part Five where Chapter 5.1 presents the problems concerning texting and is further divided into Section 5.1.1 which is devoted to the theoretical approach to translating text messages and Section 5.1.2 which analyses the examples of text messages. Chapter 5.2 introduces different perspectives on language interference and... [to full text]Šio darbo tikslas – ištirti kalbos paribius grožinėje literatūroje. Daugiausia dėmesio skiriama trumpųjų žinučių, užsieniečių šnekamajai kalbai, keiksmažodžiams ir žodynui, kuriuo įvardinamos seksualinės sueitys ir kūno dalys; pavyzdžiai analizei paimti iš tos pačios autorės, Candice Bushnell, dviejų feministinių bestselerių „Seksas ir miestas“ (1997) ir „Lūpdažių džiunglės“ (2005). Darbą sudaro šešios pagrindinės dalys ir dešimt priedų. Pirmojoje dalyje pristatomas darbo tikslas ir pateikiamos trumpos knygų santraukos. Antrojoje dalyje pristatoma feministinių bestselerių istorija ir pateikiama teorinė medžiaga, kuria bus remiamasi praktinėje dalyje. Trečioji dalis dėmesį skiria kalbos paribiams grožinėje literatūroje, šiuo atveju, feministiniams bestseliariams. Kitoje, ketvirtoje dalyje aptariami skirtumai tarp sakytinės ir rašytinės kalbos bei būdai, kuriais rašytinėje kalboje imituojama sakytinė kalba, verčiant grožinę literatūrą. Feministiniuose bestseleriuose „Seksas ir miestas“ (1997) ir „Lūpdažių džiunglės“ (2005) rasti pavyzdžiai nagrinėjami penktojoje dalyje. Skyrius 5.1 skiriamas trumpųjų žinučių rašymo teorinei apžvalgai, kuri pateikiama poskyryje 5.1.1, o poskyris 5.1.2 skiriamas praktinei žinučių rašymo analizei. Skyrius 5.2 pristato kalbos interferenciją ir yra padalintas į poskyrį 5.2.1, kur pateikiama teorija bei poskyrį 5.2.2, kur nagrinėjami užsieniečių: japono ir prancūzo, kurie šneka angliškai, kalbos pavyzdžiai. Skyrius 5.3 skirtas vertimo problemoms, su... [toliau žr. visą tekstą]
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Postalcioglu, Aysenaz. "Simone de beauvoir in Turkey: (her)story of a translational journey". Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/378645.
Testo completoAbstract (sommario):
Aquest estudi explora i problematitza el viatge de traducció de Simone de Beauvoir a Turquia a través de les dades textuals i paratextuals dels anys 50 endavant, amb una perspectiva conscient de gènere. La primera problemàtica està relacionada amb la (in)visibilitat de Beauvoir i la seva obra dins de l'espai cultural de Turquia. Si bé l'obra de Beauvoir havia estat àmpliament traduïda i llegida des de la dècada de 1960, no existien crítiques publicades de les seves traduccions. La segona problemàtica té a veure amb la seva parcial (i dolenta) representació. Com Beauvoir va ser introduïda per primera vegada a l'espai cultural de Turquia pels mateixos mediadors culturals (masculins) que van introduir Sartre en la intel·lectualitat turca, especialment en els anys 60 i 70, el seu nom es va associar amb el de Sartre i l'existencialisme, fins als anys 80 quan Beauvoir va ser finalment abordada per les feministes turques. La tercera problemàtica està, de fet, relacionada amb la segona, i és el retard en la recepció del vessant feminista de Beauvoir en el sistema cultural de Turquia. Per contextualitzar els resultats, s'argumenta que aquests materials paratextuals i textuals que van tenir un paper significatiu en la “reescriptura” de Beauvoir i la seva obra a Turquia ens donen diverses pistes sobre les postures culturals, socials, patriarcals, i ideològiques respecte “la qüestió de dona”, a l'espai cultural de Turquia.Este estudio explora y problematiza el viaje de traducción de Simone de Beauvoir en Turquía a través de los datos textuales y paratextuales de los años 50 en adelante, con una perspectiva consciente de género. La primera problemática está relacionada con la (in)visibilidad de Beauvoir y su obra dentro del espacio cultural de Turquía. Si bien la obra de Beauvoir había sido ampliamente traducida y leída desde la década de 1960, no existían críticas publicadas de sus traducciones. La segunda problemática tiene que ver con su parcial (y mala) representación. Como Beauvoir fue introducida por primera vez en el espacio cultural de Turquía por los mismos mediadores culturales (masculinos) que introdujeron Sartre en la intelectualidad turca, especialmente en los años 60 y 70, su nombre se asoció con el de Sartre y el existencialismo, hasta los años 80 cuando Beauvoir fue finalmente abordada por las feministas turcas. La tercera problemática está, de hecho, relacionada con la segunda, y es el retraso en la recepción de la vertiente feminista de Beauvoir en el sistema cultural de Turquía. Para contextualizar los resultados, se argumenta que estos materiales paratextuales y textuales que tuvieron un papel significativo en la “reescritura” de Beauvoir y su obra en Turquía nos dan varias pistas sobre las posturas culturales, sociales, patriarcales, e ideológicas respecto “la cuestión de mujer”, en el espacio cultural de Turquía.
This study explores and problematizes the translational journey of Simone de Beauvoir into Turkey through the paratextual and textual data beginning from the 1950s onwards, with a gender-conscious perspective. The first problematic is related to the (in)visibility of Beauvoir and her work within the Turkish cultural space. While Beauvoir’s oeuvre has been extensively translated and read since the 1960s, no reviewers have commented on any translation at all. The second problematic has to do with her partial (mis)representation. As Beauvoir was first introduced into the Turkish cultural climate by the same (male) mediators who introduced Sartre to the Turkish intelligentsia, especially in the 1960s and 1970s, her name was associated with that of Sartre and existentialism, until the 1980s when Beauvoir was finally approached by Turkish feminists. The third problematic is in fact related with the second one, and it is the time lag in the reception of Beauvoir’s feminist side in the Turkish cultural system. To see the big picture and to contextualize the results, it is argued that these paratextual and textual materials which played a significant role in the rewriting of Beauvoir and her work in Turkey give us clues about cultural, social, patriarchal, and ideological stances on “the woman question” within the Turkish cultural space.
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Sjödin, Louise. "Nytolkning av sura 4:34 : En undersökning om receptionen av Laleh Balhtiars The Sublime Quran". Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3580.
Testo completoAbstract (sommario):
This study looks at Laleh Bakhtiar´s ambitions when it comes to The Sublime Quran, her English translation of the Quran. It also contains a look at how it was received in English and American media, and how Bakhtiar and her like-minded defend her interpretation and translation against critics, focusing on verse 4:34.
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Batto, Yann. "Le rôle de l’éthique dans la traduction française des œuvres d’Astrid Lindgren : Fifi Brindacier digne héritière de Pippi Långstrump ?" Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101246.
Testo completoAbstract (sommario):
Lindgren’s character Pippi Longstocking is well-known all around the world. Acclaimed by feminist movements, she has been considered as a proud role model, striving for equality, who has significantly influenced many young children. However, scholars agree that she has not had the same impact in every single country due to problems that stem from the translation work’s ethic. Thus, this study strives to investigate translation’s power on readership’s perception and decryption of Lindgren’s character by comparing narrative and lexical choices of two French translations of Pippi’s books. Based on the translator’s invisibility concept and feminist translation theories, the results show that Pippi Longstocking’s depiction can purposefully be altered by the translator to match French cultural standards. By impeding readers to get a full and unbiased picture of the character, the translator suppresses the subversiveness of Lindgren’s work. Thus, the forced domestication process causes the loss of key features that make Pippi iconic.
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Paludan, Kajsa. "Lisbeth Salander Lost In Translation - An Exploration of the English Version of The Girl With The Dragon Tattoo". ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1935.
Testo completoAbstract (sommario):
Abstract
This thesis sets out to explore the cultural differences between Sweden and the United States by examining the substantial changes made to Men Who Hate Women, including the change in the book’s title in English to The Girl With The Dragon Tattoo. My thesis focuses in particular on changes in the depiction of the female protagonist: Lisbeth Salander. Unfortunately we do not have access to translator Steven T. Murray’s original translation, though we know that the English publisher and rights holder Christopher MacLehose chose to enhance Larsson’s work in order to make the novel more interesting for English-speaking readers, which resulted in Murray translating under the pseudonym Reg Keeland as he did not agree to the translation made by MacLehose and Knopf. Furthermore, this thesis touches on the ethics of translation, and will likewise argue the importance of facilitating a dialog concerning misogyny and rape culture.
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Garayta, Isabel. ""Womanhandling" the text : feminism, rewriting, and translation /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Gayle, John Kurtis. "A feminist rhetorical translating of the Rhetoric of Aristotle". Fort Worth, Tex. : Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-12182008-164144/unrestricted/Gayle.pdf.
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Li, Boya. "Translating Feminism in 'Systems': The Representation of Women's Sexual and Reproductive Health and Rights in the Chinese Translation of Our Bodies, Ourselves". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37813.
Testo completoAbstract (sommario):
This thesis examines the trans-border circulation and production of feminist knowledge through translation. More specifically, my research focuses the translation of the U.S. women’s health book, Our Bodies, Ourselves, by a Chinese feminist NGO in 1998. My dissertation studies the social, cultural and political aspects of feminist translation, and examines the relation between translation and feminist praxis. Through the lens of gender and (feminist) health politics in 1990s China, I examine how the 1998 Chinese translation conveys the book’s message about how women should relate to their bodies.
Set in the context of Chinese society opening up during the late 1970s, my research outlines the emergence of gender awareness in China with the influx of translated feminist texts, especially in the realm of women’s health research. Medical discourses were then assigned a privileged position in the studies of women’s sexual and reproductive health. However, with increased communications between Chinese and foreign feminists, Chinese women scholars developed new ideas around women’s sexual and reproductive health. The Chinese translation of OBOS addresses the lack of gender awareness in local discussions about women’s health.
With a multi-method study, I emphasize the social and linguistic dimensions of translating a feminist health project into post-reform China. This study is based on both interview and comparative textual analysis data. Using feminist translation theories, I examine how the Chinese translators handled the book’s presentation of women’s sexuality and reproductive health. This thesis also highlights the constraints on translating feminism from the local context. This raises questions about the power of (feminist) translation, and emphasizes the need to examine the social-political context of translation practices.
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Johansson, Lina. "Vem i hela världen säger så? : Normer vid översättning av könskodad dialog i manga". Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-118185.
Testo completoAbstract (sommario):
Denna uppsats undersöker normer för översättning av könskodat språk. Genusvetare menar att könskodat språk inte bara upprätthåller stereotyper om kön utan också förstärker dem. Därför tycker feministiska översättningsvetare att det är viktigt att vara medveten om vilka stereotyper som översättningar överför mellan kulturer. Denna uppsats behandlar stereotyper om kön i japanska serier, så kallade manga. Med hjälp av den översättningsvetenskapliga metoden sammankopplade par jämförs källtexterna och måltexterna med varandra. Resultatet visar att nästan allt det könskodade språket har utelämnats i måltexterna. Trots att detta gör språket mindre stereotypt blir inte alla karaktärer mindre stereotypa. En karaktär är till och med mer stereotyp i måltexten än i källtexten. Detta visar att utelämning förmodligen inte är ett medvetet val av översättaren för att minska stereotyper. Anledningen till utelämningarna verkar istället vara att det är en norm att utelämna en stor del av karaktärers rollspråk.This essay investigates norms in translation of gender stereotype language. Gender Studies has for many years claimed that gender stereotypes in language not only maintain gender stereotypes but also reinforce them. Because of this feminist translation theorists stress the importance of being aware of what stereotypes translation can and do transfer between cultures. In this essay the gender stereotypes that are dealt with are the ones of characters in Japanese comics, so called manga. With a methodology from Translations Studies, coupled pairs, it compares Japanese source texts with Swedish target texts. The results shows that almost all of the gender stereotype language in the source texts has been omitted in the target texts. Even though this makes the language less stereotype, it does not make all of the characters less stereotype. One character is even more stereotype in the target text than in the source text. This probably shows that the omissions are not a choice made by the translator to reduce stereotypes. The reason for the omissions seems instead to be that it is a norm in translation of manga to omit a certain amount of the character specific language.
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Shread, Carolyn P. T. Chauvet Marie. "On becoming in translation articulating feminisms in the translation of Marie Vieux-Chauvet's Les Rapaces /". Connect to this title, 2008. http://scholarworks.umass.edu/theses/199/.
Testo completoAbstract (sommario):
Thesis (M.A.)--University of Massachusetts Amherst, 2008.Includes .doc file (355 KB) of a translation of Marie Vieux-Chauvet's novel Les Rapaces (1984) by Carolyn Shread. Includes bibliographical references (p. 70-82).
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Björkman, Christina. "Crossing boundaries, focusing foundations, trying translations : feminist technoscience strategies in computer science /". Karlskrona : School of Technoculture, Humanities and Planning, Blekinge Institute of Technology, 2005. http://www.bth.se/fou/forskinfo.nsf/01f1d3898cbbd490c12568160037fb62/ba43f85b96bff20bc1257003005d1dd3/$FILE/inlaga_christina_bjorkman.pdf.
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Björkman, Christina. "Crossing Boundaries, Focusing Foundations, Trying Translations : Feminist Technoscience Strategies in Computer Science". Doctoral thesis, Karlskrona : Blekinge Institute of Technology, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-00296.
Testo completoAbstract (sommario):
In this thesis I explore feminist technoscience strategies in computer science, starting in “the gender question in computer science”, and ending up in communication and translation between feminist technoscience research and computer science educational practice. Necessary parts in this work concern issues of boundary crossings between disciplines, and focusing on the foundations of computer science: what it means to “know computer science”. The point of departure is in computer science (CS), in particular CS education. There are at this starting point two intertwined issues: the gender question in computer science (often formulated as “what to do about the situation of women in computer science?”) and the foundation question: “what does it mean to know computer science?”. These are not primarily questions looking for answers; they are calls for action, for change and transformation. The main focus and goal of this thesis concerns how to broaden the meaning of “knowing computer science”; to accommodate epistemological pluralism and diversity within the practices and among the practitioners of CS. I have identified translation as fundamental, to make feminist research and epistemological perspectives communicable into the community of computer science practitioners. In this, questions of knowledge and how knowledge is perceived and talked about are central. Communication and translation also depend on the ability and willingness to cross boundaries, to engage in “world- travelling” (Lugones). Additional issues of importance are asking questions open enough to invite to dialogues, and upholding critical (self) reflection. An important goal for feminist research is transformation. Because of this, interventions have been part of my research, interventions in which I myself am implicated. The work has been based in feminist epistemological thinking, where the concepts of positioning and partial perspectives (Haraway) have been of particular importance. After an introduction, the thesis consists of three parts, each part relating to one of the three issues in the title, issues identified as important for feminist technoscience work in computer science. In part A, I investigate and discuss what it means to be simultaneously an engineer/computer scientist and a feminist technoscience researcher. What boundary crossings, challenges, conflicts, negotiations and issues of being inside and outside are involved? This part also focuses on what the implications of these boundary crossings and different “mind-sets” are for transformatory work in science and engineering education, as well as a discussion of what feminist technoscience research can be and how it can be used for interventions and transformations. Part B focuses on foundations of computer science. This part consists of studies of texts, which I critically read and query from a feminist technoscience perspective, in order to challenge existing approaches and concepts within computer science. The texts are about the gender question in computer science; foundational topics of “what is computer science”, as well as epistemological questions concerning approaches to knowledge in computer science: “what does it mean to know computer science”? Part C deals with a concrete intervention project aiming at establishing conversations with computer science faculty. In this project, the issues of communication and translation appear as central. The focus in this part is communication between computer science educational practice and feminist technoscience research, language as a carrier of epistemology, and a discussion of translation.
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Zhang, Lu. "Transnational Feminisms in Translation: The Making of a Women’s Anti-Domestic Violence Movement in China". The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1210773765.
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Borges, Társila Lemos. "Análise semiótica e tradução de SCUM manifesto de Valerie Solanas". Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-01082007-151844/.
Testo completoAbstract (sommario):
O objetivo deste trabalho é demonstrar como a teoria semiótica greimasiana pode corroborar a tradução de SCUM Manifesto de Valerie Solanas, publicado em 1968, para o português. Inicialmente é possível indicar, por meio dos níveis fundamental, narrativo e discursivo do percurso gerativo do sentido, uma orientação semiótica sobre a construção do sentido no texto original. A análise semiótica permitiu verificar a revolta do sujeito scum com o sujeito homem, bem como a presença de um ethos colérico no texto, possibilitando, desse modo, uma tradução, carregada na acidez, para a língua portuguesa. Posteriormente a constatação da revolta e da cólera presentes em SCUM Manifesto, foi feita uma breve comparação deste com outros textos, também feministas e publicados na década de sessenta, para poder, numa perspectiva da análise do discurso, verificar a localização e papel social do manifesto de Solanas. A análise comparativa de SCUM Manifesto com os demais textos feministas, por meio dos temas e figuras abordados e tom empregado, permitiu confirmar o texto de Solanas como ultrafeministaThe aim of this paper is to show how semiotics by Greimas can contribute for the translation of SCUM Manifesto by Valerie Solanas, published in 1968, to Portuguese language. It is possible to identify, through the analysis of surface and deep structures of generative process, the semiotics orientation to the construction of the sense present in the source text. The semiotic analysis made it possible to verify the revolt of the subject scum against the subject men and permitting the translation to Portuguese language to be aggressive. After confirming the presence of revolt and cholera in SCUM Manifesto, the text was also compared to other feminist texts from the sixties to determine, in a Discourse Analysis perspective, its location and social role among them. The comparison of themes, figures and tones of speech confirmed the text by Solanas to be a ultra-feminist one
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Miguelez-Carballeira, Helena. "Renewing old acquaintances : the conflation of critical and translational paths in the Anglo-American reception of Merce Rodoreda, Esther Tusquets, and Rosa Montero". Thesis, University of Edinburgh, 2005. http://hdl.handle.net/1842/7531.
Testo completoAbstract (sommario):
The thesis looks at the patterns, tendencies, and tensions that characterise the Anglo-American critical reception of the three peninsular woman authors Merce Rodoreda, Esther Tusquets, and Rosa Montero, generally assigned a representative role as feminist writers in the field of gender-centred Hispanism. The study begins with the recognition that there has been an increase in the level of awareness as to certain recurrent mechanisms of academic Hispanism in America, as is proved by the recent burgeoning of studies with an avowed metacritical slant. My analysis partakes in this trend but integrates also translational analysis, with a view to showing the validity of translated texts as critical artefacts, informed by similar operations and leanings. Ultimately, my aim is to shed light on the often downplayed complexities characterising ideologically inflected instances of cultural reception and diffusion, of which the Anglo-American critical response to women-authored, contemporary narrative in Spain is a case in point.
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Zhang, Lu. "Transnational feminisms in translation the making of a women's anti-domestic violence movement in China /". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210773765.
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Marshall, Sharon Margaret. "The Aeneid and the illusory authoress : truth, fiction and feminism in Hélisenne de Crenne’s Eneydes". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3249.
Testo completoAbstract (sommario):
In 1541, writing under the pseudonym Hélisenne de Crenne, the French noblewoman Marguerite Briet produced a translation of the first four books of Virgil’s Aeneid that remains largely unknown. As a female author, Hélisenne provides a sixteenth-century woman’s perspective on the Aeneid, an on classical literature more generally, and the uniqueness of her translation in this respect makes her work extremely significant, particularly given the relatively recent interest in women and other marginal voices within the field of classics. This thesis contributes to an understanding of the need for a holistic approach to Classical Reception Studies, through a thorough examination of Hélisenne’s translation not only with regard to her gender but also the social, historical and literary climate in which she writes. Focussing on the mise en livre, as well as the text, my approach also stresses the need to reevaluate the relationship between the author and the text that we often assume in classics is more direct than is actually the case. Through such an examination of her Eneydes, Hélisenne emerges as a serious participant in the humanist tradition who engages with classical literature in such a way as to question masculine textual authority and the notion of an objective truth, whilst deliberately implicating herself through her translation in a web of authorities who are not to be trusted.
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王曉鶯. "離散譯者張愛玲的中英翻譯 : 一個後殖民女性主義的解讀 = The diasporic translator Eileen Chang's Chinese-English translations : a postcolonial feminist interpretation". HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1148.
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Bastos, Camila Rodrigues. "TRADUÇÃO, TRANSCRIAÇÃO E FEMINISMO NEGRO EM ALICE WALKER". Pontifícia Universidade Católica de Goiás, 2017. http://tede2.pucgoias.edu.br:8080/handle/tede/3710.
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CAMILA RODRIGUES BASTOS.pdf: 2280488 bytes, checksum: 864aa49ecb44c885b6649ac8dc7f097d (MD5)Made available in DSpace on 2017-06-28T12:43:14Z (GMT). No. of bitstreams: 1 CAMILA RODRIGUES BASTOS.pdf: 2280488 bytes, checksum: 864aa49ecb44c885b6649ac8dc7f097d (MD5) Previous issue date: 2017-03-14
The present research investigates the different forms of translation in the narratives of Alice Walker, analyzing the process of interlingual and cultural translation of the works The Color Purple and The Temple of My Familiar, as well as the intersemiotic translation of the book: The Color Purple. The choice of the object of analysis was based on the desire to ascertain Walker's writing of denunciation, which seeks to subvert the woman's position as being dominated, through a "womanist" perspective, realized through black feminism. In the first chapter it is possible to verify the marks of the postcolonial literature, since the narratives fictionalize questions such as: identity, sexism, racism, misogyny, nature exploration, memory and myth, decolonizing the narrative, through a counterhegemonic attitude, Investigates indigenous and African cultures, as well as the cultural hybrids that originate mestizo characters, subjects of interlacing. The second chapter examines the interlinguistic translation and, finally, the third examines the intersemiotic translation of the novel The Color Purple for the cinema. For this, it is used theorists who study black feminism, translation theories and the postcolonial literature such as Bonnici (2002), Spivak (2000), Bakhtin (2009), Velasco (2012), Bhabha (2002) , Said (1995), Canclini (1990), Walsh (2008), Beauvoir (1969), Hooks (2000), Butler (1990), Newmark (1987), Octavio Paz (1971), Campos ), Stam (2000), Diniz (2005), et al. Thus, it was found that the interlingual translation of English into Portuguese and into Spanish was domesticated, since translators failed to translate the non-standard variety of blacks from the southern United States into their respective languages. In relation to the film transcription, Steven Spielberg seeks to be faithful to the novel, adapting to the film issues such as black feminism, Celie and Nettie loyalty, Celia and Shug Avery's homosexual relationship, and the empowerment of Celie.
A presente pesquisa investiga as diferentes formas da tradução nas narrativas de Alice Walker, analisando o processo de tradução interlinguística e cultural das obras A Cor Púrpura e O Templo Dos Meus Familiares, assim como a tradução intersemiótica do livro: A Cor Púrpura. A escolha do objeto de análise baseou-se no anseio de averiguar a escrita de denúncia de Walker, que busca subverter a posição da mulher como ser dominado, por intermédio de uma perspectiva “womanist”, realizada por meio do feminismo negro. No primeiro capítulo é possível constatar marcas da literatura pós-colonial, pois as narrativas ficcionalizam questões como: identidade, sexismo, racismo, misoginia, exploração da natureza, memória e mito, descolonizando a narrativa, por meio de uma atitude contrahegemônica, que investiga culturas indígenas e africanas, assim como os hibridismos culturais que originam personagens mestiços, sujeitos do entrelugar. O segundo capítulo averigua a tradução interlinguística e por último, o terceiro analisa a tradução intersemiótica do romance A Cor Púrpura para o cinema. Para isso, recorre-se a teóricos que estudam o feminismo negro, as teorias da tradução e a literatura pós-colonial tais como Bonnici (2002), Spivak (2000), Bakhtin (2009), Velasco (2012), Bhabha (2002), Said (1995), Canclini (1990), Walsh (2008), Beauvoir (1969), Hooks (2000), Butler (1990), Newmark (1987), Octavio Paz (1971), Campos (1986), Bazin (1991), Stam (2000), Diniz (2005), et al. Com isso, constata-se que houve a domesticação da tradução interlinguística do inglês para o português e para o espanhol, uma vez que os tradutores não conseguiram traduzir a variedade não padrão dos negros do sul dos Estados Unidos para as respectivas línguas. Em relação à transcriação fílmica, Steven Spielberg busca ser fiel ao romance, adaptando para o filme questões como o feminismo negro, a fidelidade entre Celie e Nettie, a relação homoafetiva entre Celie e Shug Avery e o empoderamento da personagem Celie.
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Andrade, Mislainy Patricia de. "PROCEDIMENTOS TRADUTÓRIOS E DIMENSÕES DA FIGURA FEMININA EM SONHO DE UMA NOITE DE VERÃO, DE WILLIAM SHAKESPEARE". Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/3186.
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Previous issue date: 2013-06-07This study is about translation procedures in A Midsummer Night´s Dream by William Shakespeare on its five translations published in Brazil by Carlos Alberto Nunes (1955), F. C. Medeiros Mendes and Oscar (1969); Beatriz Viégas-Faria (2001); Heliodora Barbara (2004) and Erick Ramalho (2006). Our intention here is also verifying in these translations, comparing to the source text, speeches that report the development of the women‟s profile in Shakespearean work in analysis. From the assumption that each translator has his own characteristics and style, we have checked in this study the translation strategies which had been chosen and used by each author in their translation process. We know that each translation was produced in different social and historical contexts, however, for a greater comprehension of its specificities, this study had as a theoretical basis, the methodological model of Lambert and van Gorp (1985), thereby, justifying with greater accuracy and efficiency the choices of each author‟s translation procedures. This analysis had been developed in three stages: (i) identifying fragments that address the woman‟s profile in Shakespeare work, (ii) checking fragments (in the target texts) of each possible statement or word, previously highlighted, about woman‟s profile, (iii) analyze the translation procedures observed before, and the general effects they may cause in different translations, in order to analyze how the translations may maintain, attenuate, intensify or omit, among other things, discursive aspects about the construction of the female profile once verified on the source text. Therefore, this study followed the scheme of strategies developed by MárciaParedesNunes (2007), it consists of translation strategies relevant for this research. Our theoretical referential is based on the Descriptive Translation Studies, about theories and approaches from authors such as Even-Zohar (1990), Toury (1980, 1995, 1998), Lefevere (1990) and Venuti (2002). We have noticed that all translators have tried to be as faithful as possible and keep in their translations the original proposal, always looking for equivalent terms between the source text and the target text, and worrying about the lexicon, the semantic and with the linguistic varieties present in the Shakespearean text, they also (re)create the play‟s scenic aspects. Whereas, the translation studies are still recent in Brazil, this research does not stop here. New studies will come contributing to the increase and diffusion of this new field of scientific and academic research.
Esta pesquisa versa sobre procedimentos tradutórios em Sonho de Uma Noite de Verão de William Shakespeare em cinco traduções publicadas no Brasil, por Carlos Alberto Nunes (1955); F. C. Medeiros e Oscar Mendes (1969); Beatriz Viégas-Faria (2001); Barbara Heliodora (2004) e Erick Ramalho (2006). Pretende-se aqui, também, verificar nessas traduções, comparando-se ao texto original as implicações de discursos que marcam a construção do perfil da mulher na obra shakespeariana em análise. Partindo do pressuposto de que cada tradutor possui suas particularidades e estilo próprio, ocupamo-nos das estratégias de tradução escolhidas por cada um deles. Como cada trabalho se deu em contexto históricosocial distinto, adotamos, para melhor compreensão das especificidades, como base teórica neste estudo, o modelo metodológico de Lambert e van Gorp (1985) para, desse modo, acessarmos, com maior rigor e eficácia, a escolha dos procedimentos tradutórios de cada autor. Este estudo apresenta-se em três etapas: (i) identificação de fragmentos que retratam o perfil da mulher na obra de Shakespeare; (ii) localização das traduções (nos textos-alvo), de cada possível afirmação ou palavra sobre a mulher, previamente destacadas nos fragmentos e, (iii) análise dos procedimentos tradutórios observados e os efeitos gerais que estes provocam nas diferentes traduções, a fim de verificar em que medida as versões mantêm, atenuam, intensificam ou omitem os aspectos discursivos relacionados à construção do perfil feminino antes percebido no original. Para tanto, nos apoiamos no esquema de estratégias elaborado por Márcia Paredes Nunes (2007), constituído por estratégias tradutórias relevantes para esta pesquisa. Nosso referencial teórico funda-se nos Estudos Descritivos da Tradução, com base nas teorias e abordagens de autores como Even-Zohar (1990), Toury (1980, 1995, 1998), Lefevere (1990) e Venuti (2002). Observamos que ambos os tradutores buscaram da maneira mais precisa possível serem fiéis e conservar em suas traduções a proposta do original, buscando sempre termos equivalentes entre o texto-fonte e o texto-meta, preocupando-se com o léxico, com o semântico e com as variedades linguísticas presentes no texto shakespeariano, além de (re)criarem os aspectos cênicos da peça.Considerando que os estudos da tradução ainda são recentes, no Brasil, esta pesquisa não para por aqui. Novos estudos virão no intuito de contribuir com a ampliação e difusão deste novo campo de investigação cientifica-acadêmico.
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Alasfour, Alaa Mohammed. "Translating Women in the Quran: A Corpus-Based Analysis". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619165912215171.
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Alfonso-Forero, Ann Marie. "Translating Postcolonial Pasts: Immigration and Identity in the Fiction of Bharati Mukherjee, Elizabeth Nunez, and Jhumpa Lahiri". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/577.
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This dissertation examines how postcoloniality affects identity formation in contemporary women's immigrant literature. In order to do so, it must interrogate the critical fields that are most interested in issues of national and cultural identities, migration, and the appropriation of women by both Western and postcolonial projects. By examining the fiction of Bharati Mukherjee, Elizabeth Nunez, and Jhumpa Lahiri through the triple lens of ethnic American studies, postcolonial theory, and transnational feminism, I will argue that theorizing postcolonial women's writing in the United States involves sustained analysis of how particular socio-political experiences are translated into the context of American identity. I am particularly interested in the manner in which female subjects in these texts navigate between the various and often contradictory demands placed on them by their respective homeland cultures and their new immigrant positions in the United States. Although each of these writers depict immigrant women protagonists who adapt to these demands in their own particular ways, a study of these characters' gendered and cultural identities reveals a powerful relationship between the manner in which women are figured into the preservation of the postcolonial nation-state and the ways in which these women utilize immigration as an occasion to appropriate and subvert this role in the establishment of a new, negotiated identity. This project draws on three important and current fields of interest to both cultural and literary studies. Postcolonial studies, which has been central to the study of literature by minority writers, provides a useful foundation for understanding hybrid identities, dislocation, and the ways in which empire gave rise to nationalisms that utilized women in the formation and preservation of the nation-state. Transnational feminist theories are critical to understanding the implications of nationalism's appropriation of women and their bodies in it projects, and are especially useful in establishing feminisms that are not limited by American or European definitions and that defy homogenizing the experiences of postcolonial women. They affirm that there are many strategies for employing female agency, and that we must consider the particular circumstances (economic, cultural, racial, national, gender) that allow women of color to favor one strategy over another. Finally, U.S. Ethnic studies will inform my readings of texts that are, at their core, narratives of immigration to the United States and the seeking out of the American Dream. However, this dissertation suggests, the precarious position of immigrants in a nation whose ideals and dominating mythology are marred by a dark history of racism and exclusionary practices plays an important role in the establishment of an ethnic American identity in the United States.
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Roostaee, Amir Hossein. "Different worlds a comparaison of love poems by Dorothy Livesay (Canada, 1909-96) and by Forugh Farrokhzad (Iran, 1935-67)". Mémoire, Université de Sherbrooke, 2010. http://savoirs.usherbrooke.ca/handle/11143/2663.
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The focus of this study is to compare works by the Canadian poet Dorothy Livesay (1909-1996) and by the Iranian poet Forugh Farrokhzad (1935-1967). Although Farrokhzad and Livesay were from different generations, their love poems emerged around the same time. Farrokhzad published her poems between 1955 and 1965, and Livesay's collection of love poemsThe Unquiet Bed was published in 1967. There are interesting similarities between the use of voice and theme in their love poems.The speakers in the poems try to keep their individuality and are looking for freedom in love, but often see love as disappointing. My discussion highlights Livesay's"The Touching,"The Taming," and"Consideration" as well as Farrokhzad's"The Sin,"Love Song," and"My Beloved." I also refer to many of their other love poems, discuss their biographies and map out their respective cultural contexts, all of which reflect different worlds. A comparison of Farrokhzad's and Livesay's personal lives shows that Livesay's father and her mother, who were both journalists, helped her to improve and publish her writings while Farrokhzad's parents discouraged their daughter from composing and publishing poems. Livesay was a highly educated woman who lived and studied in different countries, but Farrokhzad did not have access to advanced academic studies. Neither had happy marriages and both left their marriages in search of more freedom. Through their love poems, Farrokhzad and Livesay questioned the patriarchal conventions of their respective societies and tried to express their need for freedom and individuality as women. One of the most important differences between Iranian and Canadian societies was that Iranian society was deeply affected by conventional Islamic ideologies. Farrokhzad's love poems resisted these Islamic ideologies and, as a result, her works were ignored for years. Again, at the time Livesay publishedThe Unquiet Bed (1967), there were some similarities between gender constructions in Iran and Canada, for example, the importance of marriage and the confinement of women to the private sphere, but to a very different degree. Since Livesay lived in a society that was being greatly affected by the feminist revolution in the 1960's, the feminism in her love poems was better received. As this research is done in English, translated versions of Farrokhzad's poems are used. A translated poem never conveys the exact meaning of the original poem.The translator of a poem should be a poet herself or himself. What he or she should do is to read and understand the original poem and reproduce a new poem in the target language. This research discusses some interesting images in Farrokhzad's love poems. As a native speaker of Farsi, I explain the real intention of these images to see if translated versions could convey a similar meaning. I also consider the challenges when translating poetry from Farsi to English and the effects of reading Iranian poetry that has been mediated by translation. An important approach to Farrokhzad's and Livesay's works is to analyze their poems in terms of feminist ideologies. There is a great difference between Iranian and Canadian feminist ideologies. Feminist thought in Iran is based on Islamic ideologies.The question is if Islamic feminism can defend women's rights against men or not. Farrokhzad was one of the anti-Islamic feminists who opposed Islamic rule in her poems. Canadian feminist ideologies, however, are divided into liberal, Marxist, radical, and French schools, and are most often based on secular ideologies. This thesis examines the critical reception of poetry by both poets in the context of different schools of feminist thought in Canada and Iran. Livesay traveled to Zambia later in life and one of the love poems she wrote after that called"The Taming" comments ironically on women's submission to a dominant male lover.The comparison of poems by two authors from different worlds shows how their love poems, their feminist voice, and their themes of freedom, independence, and disappointment in love are rooted in the cultural context of their lives.
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Beccue-Barnes, Wendy Davis. "War brides: a practice-based examination of translating women’s voices into textile art". Diss., Kansas State University, 2012. http://hdl.handle.net/2097/13632.
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Doctor of PhilosophyDepartment of Apparel, Textiles, and Interior Design
Sherry J. Haar
Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.
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Morante, Naiara Gomes [UNESP]. "Um estudo sobre a representação da figura feminina nas traduções de The Chronicles of Narnia: The Silver Chair à luz dos Estudos da Tradução Baseados em Corpus". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154360.
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A presente dissertação volta-se para o estudo do léxico de uma obra traduzida, tendo como base o uso de corpus. Escolhemos para análise o livro The Chronicles of Narnia: the Silver Chair (1953), do escritor C. S. Lewis, e suas traduções para a língua portuguesa “As Crônicas de Nárnia: a cadeira de prata” – tradução de Paulo Mendes Campos – e para a língua espanhola Las Crónicas de Narnia: la silla de plata – Tradução de María Rosa Duhart Silva. Selecionamos três vocábulos para análise, os quais se relacionam à representação das principais personagens femininas e a aspectos simbólicos da narrativa: Jill, Witch e owl. Estas são palavras-chave no corpus que compilamos e foram extraídas por meio de ferramentas específicas do software WordSmith Tools. Investigamos, então, os três vocábulos de acordo com seu cotexto (texto ao redor da palavra de busca) e com seu contexto. Para tal, levamos em consideração os dados fornecidos pelo programa, como o número de ocorrências dos vocábulos escolhidos no texto de partida (TP) e nos textos de chegada (TCs) e os pressupostos teóricos dos Estudos da Tradução Baseados em Corpus (BAKER, 1993, 1995, 1996). Os resultados das análises apontam para a criação de novos sentidos nos TCs de acordo com o léxico selecionado pelos tradutores, levando o leitor a conceituar de diferentes modos as personagens citadas, a partir de suas impressões ao ter acesso ao TC.
The present dissertation, based on subsidies from Corpus Linguistics consists of a study aimed at studying the lexicon of a literary work. We have chosen to analyze the book The Chronicles of Narnia: the Silver Chair (1953), by the writer C. S. Lewis, and its translations into the Portuguese language As Crônicas de Nárnia: a cadeira de prata – translated by Paulo Mendes Campos –, and into the Spanish language Las Crónicas de Narnia: la silla de plata – translated by María Rosa Duhart Silva. We have selected three words for analysis, which relate to the representation of the main female characters and the symbolic aspects of the narrative: Jill, Witch and owl. These are keywords in the corpus we compiled and they were extracted using specific tools from WordSmith Tools software. We then investigated the three words according to their co-text (text around the search word) and its context. To do so, we took into account the data provided by the program, such as the number of occurrences of the words chosen in the source text (ST) and in the target texts (TTs) and the theoretical assumptions of Corpus-based Translation Studies (BAKER, 1993, 1995, 1996). The results of the analyzes point to the creation of new meanings in the TTs according to the lexicon selected by the translators, leading the reader to conceptualize the characters mentioned in different ways, from their impressions upon access to the TT.
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Egan, Frances. "Portraits of the Artist's Self ˸ translating Alexandre Vialatte's Battling le ténébreux". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA043.
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Alexandre Vialatte (1901-1971) se définissait de son vivant comme « notoirement méconnu ». Les ambiguïtés de l’écrivain-traducteur l’ont relégué en marge de la littérature française, mais elles suscitent de façon paradoxale une attention critique modeste aujourd’hui. Son premier roman Battling le ténébreux ou la mue périlleuse (1928) – roman d’apprentissage peu étudié et encore inédit en anglais – incarne parfaitement la qualité inclassable de l’auteur. Cette thèse se concentre sur le fait que Vialatte était traducteur ; elle avance l’hypothèse qu’une rencontre précaire entre les cultures française et allemande façonne Battling et, en parallèle, elle examine l’idée d’une identité « en traduction ». À ce titre, nous adoptons une « lecture traductionnelle » du texte où la pratique de la traduction (vers l’anglais) alimente une étude littéraire. En raison de la nature interdisciplinaire de la traduction, nous nous appuyons non seulement sur la traductologie, mais aussi sur la littérature comparée, la création littéraire et les études féministes, afin de donner corps à un espace polyphonique et créatif entre sujets et cultures. Notre analyse du texte porte sur la « mue périlleuse » du héros moderniste et s’organise autour de deux rencontres intersubjectives : tandis que le protagoniste du roman rencontre son objet de désir (une femme allemande) et se trouve déstabilisé, le traducteur rencontre l’écrivain pour problématiser le texte original. À travers ces deux affrontements, nous bouleversons les dichotomies de soi et autre, original et traduction, pour finalement imaginer une identité plurielle et éthique en traductionAlexandre Vialatte’s (1901-1971) self-proclaimed label – ‘notoirement méconnu’ – continues to define him today. The writer-translator’s incongruities have relegated him to the margins of the French literary canon yet paradoxically attract a modest academic following. His first novel Battling le ténébreux ou la mue périlleuse (1928) – a little-studied and currently untranslated coming of age tale – exemplifies the rich placelessness that defines the author. This thesis contextualises Battling in light of Vialatte’s position as translator. It suggests the text is informed by an uneasy encounter between French and German cultures and geographies and, in parallel, it investigates the very notion of an identity ‘in translation’. This thesis adopts a translational approach whereby my own process translating Battling into English frames a literary study of the text. Given the multifaceted nature of translation, such an approach is interdisciplinary: it draws not only from translation studies (both theory and practice), but also from comparative literature, creative writing, and feminist studies, to map a polyphonous and multifaceted space between subjects and cultures. The analysis centres on the modernist hero’s ‘mue périlleuse’, or coming of age, and structures itself around two intersubjective encounters; as Vialatte’s protagonist meets his foreign and feminine Other to find insecurity, translator meets writer to problematise the original text. Through these two encounters, this thesis works to unsettle the binaries of self and other, original and translation, to ultimately present a plural and ethical identity in translation
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Pôrto, Lílian Virgínia. "Traços feministas em traduções brasileiras de obras de Anne Hébert". Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/5256.
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L’objectif de ce travail est d’analyser les traits féministes de la traduction brésilienne des trois oeuvres de l’écrivaine québécoise Anne Hébert (1916-2000) : Kamouraska (1970), Les fous de Bassan (1982) et La cage (1990). Nous effectuerons une étude comparative entre les textes originaux et ses respectives traductions, réalisées par Leônidas Gontijo de Carvalho (A máscara da Inocência − 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan − 1986), Núbia Hanciau (A gaiola de ferro − 2003). Nous proposons, d’après Antoine Berman (1995), une lecture textuelle et contextuelle de la traduction en partant de la prémisse que traduire ce n’est pas opérer un transfert de sens. Ainsi, la traduction sera conçue comme lecture, interprétation, réécriture et création, selon les théoriciens : Lefevere (2007), Simon (1994) et von Flotow (1997). Nous adopterons une perspective analytique plurielle, en ayant recours aux textes de spécialistes de l’oeuvre hébertienne, aux théoriciens des études de traduction, de la traduction féministe et des études de genre comme Rita Felski (1989), Sherry Simon (1996), Suzanne de Lotbinière-Harwood (1991), France Théoret (1987). Ainsi, partant de cette vision plurielle, nous chercherons à analyser comment la femme hébertienne lucide, forte, pleine de vitalité et quelques fois sans scrupules est représentée dans les traductions brésiliennes. Nous analyserons également, des personnages féminins, rares il faut le dire, qui n’arrivent pas à exprimer leur mécontentement face à l’oppression patriarcale. Pour ce faire, nous examinerons, dans le premier chapitre, la position qu’occupe Anne Hébert concernant les réflexions sur l’écriture au féminin dans le contexte canadien. Cette discussion nous mènera, inévitablement, à ce qu’on appelle traduction féministe et le rôle qui a joué Anne Hébert dans cette nouvelle pratique de traduction. Dans les chapitres suivants, nous analyserons les oeuvres qui constituent le corpus de ce travail, en dédiant un chapitre à chaque livre, dans lequel nous effectuerons une confrontation des fragments des textes originaux et leurs traductions vers le portugais, en mettant en relief différents thèmes qui permettent l’examen des traits féministes, en nous appuyant sur les modalités de traductions de Francis Aubert (1998). De ce fait, dans Kamouraska, nous explorerons la représentation de la maternité, ainsi que la présence de la sexualité et de la violence, nous considèrerons, surtout, les textes de Lori Saint-Martin (1999) et Elisabeth Grosz (2000). Dans Les fous de Bassan, nous identifierons différents types de résistance face aux pouvoirs patriarcaux − observés dans les personnages féminins de l’oeuvre − en ayant comme appui théorique principal les considérations de Michel Foucault sur le pouvoir et la résistance. Dans La cage, finalement, nous analyserons la lecture féministe de l’histoire de la Corriveau, populaire au Québec, à la lumière de contributions de Michel Pêcheux (1999), Lévi-Strauss (1967) et Maurice Halbwachs (2006), pour les questions liées au mythe et à la mémoire. Pour les questions féministes, nous aurons recours, entre autres, à Luce Irigaray (1981), à Simone de Beauvoir (2003), entre autres.
The aim of this study is to examine feminist traits in the Brazilian translation of the following works of Quebec writer Anne Hébert (1916-2000): Kamouraska (1970), Les fous de Bassan (1982) and La cage (1990). The original texts and their respective translations by Leonidas Gontijo de Carvalho (A mascara da Inocência – 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan – 1986), Nubia Hanciau (A gaiola de ferro – 2003) are analyzed from a comparative perspective. A textual and contextual reading of the translation is proposed based upon the premise of Antoine Berman (1995) that translating is not the same as transferring meanings. In this sense, translation is considered as reading, interpretation, rewriting and creation, according to the theorists: Lefevere (2007), Simon (1994) and von Flotow (1997). This analytical perspective considers both critical texts of Hebertian work and theorists of translation studies − especially those of feminist trait and from gender studies, such as Rita Felski (1989), Sherry Simon (1996), Suzanne Lotbinière-Harwood (1991), France Theoret (1987). Face to these multiple points of view, we seek to demonstrate if the lucid, strong, full of vitality and sometimes unscrupulous Hebertian woman is represented as such in the Brazilian translations. In addition, we focus on those characters, it must be said rare, that are not able to express their dissatisfaction before the patriarchal oppression to which they are subjugated. To do so, the position that Anne Hébert holds within reflections on écriture au féminin in the Canadian context is discussed in the first chapter. We believe that such discussion leads inevitably to the so called feminist translation and to the role Hébert played in the introduction of this new practice of translation. In the following chapters, we bring our attention to the works that make up the corpus of this thesis. We have devoted a chapter for each one of the books in which fragments of the original texts and their translations into Portuguese are confronted. Such approach takes into account a diversity of themes that allow the analysis of feminist traits according to the translation modalities of Francis Aubert (1998). Therefore, in Kamouraska we explore the representation of motherhood and the presence of sexuality and violence, especially considering the texts of Lori Saint-Martin (1999) and Elisabeth Grosz (2000). In Les fous de Bassan different types of resistance against the patriarchal powers are identified in female characters in accordance to the thinking developed by Michel Foucault (1979) regarding power and resistance. Finally, in La cage, we analyze the feminist reading of the story of Corriveau, popular in Quebec, taking into account the contributions of Michel Pêcheux (1999), Levi-Strauss (1967) and Maurice Halbwachs (2006), with respect to issues related to myth and memory. For the feminist issues, on the other hand, we recur to Luce Irigaray (1981) and Simone de Beauvoir (2003), among others.
O objetivo deste trabalho é analisar os traços feministas na tradução brasileira das seguintes obras da escritora quebequense Anne Hébert (1916-2000): Kamouraska (1970), Les fous de Bassan (1982) e La cage (1990). Faremos um estudo comparativo entre os textos originais e suas respectivas traduções, realizadas por Leônidas Gontijo de Carvalho (A máscara da Inocência − 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan − 1986), Núbia Hanciau (A gaiola de ferro − 2003). Será proposta, na esteira de Antoine Berman (1995), uma leitura textual e contextual da tradução, tendo como base a premissa de que traduzir não é o mesmo que transferir significados. Nesse sentido, a tradução será concebida como leitura, interpretação, reescrita e criação, conforme os teóricos: Lefevere (2007), Simon (1994) e von Flotow (1997). Adotaremos uma perspectiva analítica que englobará tanto os textos de críticos da obra hebertiana quanto os teóricos dos estudos da tradução − contemplando principalmente aqueles de vertente feminista e os estudos de gênero, tais como Rita Felski (1989), Sherry Simon (1996), Suzanne de Lotbinière-Harwood (1991), France Théoret (1987). Face a essa múltipla visão, buscaremos demonstrar se a mulher hebertiana lúcida, forte, cheia de vitalidade e às vezes inescrupulosa, é dessa forma representada pelas traduções brasileiras. Além disso, enfocaremos aquelas personagens, cumpre dizer raras, que não conseguem expressar o seu descontentamento diante da opressão patriarcal à qual são subjugadas. Para tanto, será discutida, no primeiro capítulo, a posição que Anne Hébert ocupa no âmbito das reflexões sobre a écriture au féminin no contexto canadense. Tal discussão, acredita-se, nos leva, inevitavelmente, à chamada tradução feminista e ao papel que Hébert desempenhou na introdução dessa nova prática de tradução. Nos capítulos seguintes, traremos à baila as obras que constituem o corpus da presente tese. Nesse caso, destinaremos um capítulo para cada um dos livros, de forma a cotejar fragmentos dos textos originais e suas traduções para o português. O enfoque a ser dado obedecerá a diferentes temas que possibilitam o exame de traços feministas, de modo a serem consideradas as modalidades tradutórias de Francis Aubert (1998). Assim, em Kamouraska, exploraremos a representação da maternidade, bem como a presença da sexualidade e da violência, considerando, sobretudo, os textos de Lori-Saint Martin (1999) e Elisabeth Grosz (2000). Em Les fous de Bassan, serão identificados diferentes tipos de resistência frente aos poderes patriarcais − observados nas personagens femininas da obra − conforme o pensamento desenvolvido por Michel Foucault (1979) a respeito de poder e resistência. Por fim, em La cage, analisaremos a leitura feminista da história da Corriveau, popular no Quebec, tendo em conta as contribuições de Michel Pêcheux (1999), Lévi-Strauss (1967) e Maurice Halbwachs (2006), no que concerne às questões relacionadas ao mito e à memória. Para as questões feministas, por sua vez, recorreremos a Luce Irigaray (1981) e Simone de Beauvoir (2003), entre outras.
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Blanchard, Charlotte. "Réception et traduction de la poésie d’Adrienne Rich en France". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30011/document.
Testo completoAbstract (sommario):
Le but de cette thèse est de comprendre pourquoi la poésie d’Adrienne Rich (1929-2012), autrice étatsunienne majeure, est absente du champ littéraire français. Poétesse prolifique, Adrienne Rich reçut de nombreux prix littéraires tout au long de sa carrière. Essayiste, elle fut une théoricienne du mouvement féministe étatsunien. Des recueils de ses poèmes ont été publiés dans une vingtaine de langues dans le monde. En français, une quinzaine de poèmes d’Adrienne Rich a été traduite et publiée sur divers supports (anthologies, revues littéraires, blogs). Un recueil a été conçu en collaboration avec la poétesse, mais il n’a jamais été publié à ce jour. Malgré différentes tentatives pour accueillir la poésie d’Adrienne Rich en France (traduction de ses essais, inscription au programme de l’agrégation, lecture en librairie) elle est toujours en 2019 dans une situation ambiguë de présence mais d’invisibilité pour le lectorat français. Nous chercherons donc à expliquer cette réception en suspens en examinant d’abord les traductions de poèmes d’Adrienne Rich publiés en français. Qui en sont les auteurs et autrices ? Quelles sont leurs pratiques et les caractéristiques de leurs traductions ? Leurs travaux s’inscrivent dans le sous-champ éditorial de la poésie traduite en France qui sera analysé pour en identifier les dynamiques, les acteurs et actrices, les supports de diffusion. À la lumière de ces analyses qui relèvent de la sociologie de la traduction et de la réception, nous comparerons le cas de la poésie d’Adrienne Rich avec d’autres poètes mais surtout d’autres poétesses étatsuniennes contemporaines. Dans ce contexte de réception, il faut aussi prendre en compte l’histoire des idées. En effet, l’œuvre d’Adrienne Rich est marquée par l’engagement féministe de l’autrice, ce qui représente une caractéristique significative pour le transfert culturel que constitue la traduction. Nous nous intéresserons donc à l’histoire des mouvements mais aussi des courants de pensée féministes aux États-Unis et en France depuis les années 1960. Enfin, dans une démarche prospective, ce travail se propose d’envisager les modalités de conception d’un recueil de poèmes d’Adrienne Rich traduits en français à l’aune de l’analyse du champ éditorial de la poésie en France et d’une lecture microtextuelle des poèmes déjà traduits. Nous illustrerons cette réflexion par des traductions ou retraductions de quelques textes : comment traduire une poésie féministe ?The aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?
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Stohler, Ursula [Verfasser], e Emily [Übersetzer] Lygo. "Disrupted Idylls : Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova) – With translations by Emily Lygo / Ursula Stohler". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1165487217/34.
Testo completo
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Alva, Rodrigo Carvalho. "Zora Neale Hurston & Their Eyes Were Watching God: a construção de uma identidade afro-americana feminina e a tradução para o português do Brasil". Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=462.
Testo completoAbstract (sommario):
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA presente dissertação possui dois objetivos principais. O primeiro, presente na parte I, é analisar a construção identitária feminina da personagem principal da obra Their Eyes Were Watching God, de Zora Neale Hurston. Sendo assim, a primeira parte desta dissertação é composta de quatro capítulos, sendo que ao longo dos três primeiros, antes da discussão propriamente dita, o trabalho busca aproximar o leitor da discussão. Para isso, os três capítulos iniciais têm o intuito de deixar o leitor familiarizado primeiro com a autora, depois com suas obras e, por último, com o momento histórico vivido pelos Estados Unidos no período do movimento cultural afro-americano conhecido como Harlem Renaissance. O segundo objetivo deste trabalho é analisar a tradução da obra, Seus Olhos Viam Deus, para o português e, se possível, fazer sugestões para as encruzilhadas e obstáculos tradutórios que porventura tenham sido enfrentados pelo tradutor. Esta dissertação visa com isso apresentar soluções que possam ser utilizadas em futuras traduções de obras de escritoras afro-americanas para o português do Brasil. Portanto, para isso, a segunda e a terceira parte deste trabalho, compostas de mais três capítulos, trazem uma revisão sobre as teorias tradutórias recentes e, em perspectiva inovadora, destacam pontos a serem abordados na discussão
The present dissertation has two main goals. The first, in part I, is to analyze the construction of the female identity of the main character of the novel Their Eyes Were Watching God, by Zora Neale Hurston. Therefore, four chapters compose the first part of this work. In the first three, before the discussion, the text tries to bring the readers closer to the discussion still to come. In order to do this, these initial chapters aim to make the reader more familiar with the author, then with her work, and, last but not least, with the historical moment in the United States during the period of the African-American cultural movement known as the Harlem Renaissance. The second goal is to analyze the translation of the novel, Seus Olhos Viam Deus, to Portuguese and, if possible, to make suggestions for the translation crossroads and obstacles that the translator might have faced. By doing this, this dissertation aims to present solutions that may be used in future translations to Brazilian Portuguese of works by African-American writers. Therefore, the parts II and III of this work, which are composed by three more chapters, bring a literary review about recent translation theories and, through an innovative perspective, detach a few points which are going to be subsequently discussed.
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邵毅. "重寫與節約 : 從女性主義角度論《傲慢與偏見》的中譯本 = Rewriting and constraints : a study of the Chinese translations of Pride and prejudice from a feminist perspective". HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/855.
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Serrão, Raquel de Araújo. "Sabor, emoção e tradução em Como Água Para Chocolate". Universidade Estadual da Paraíba, 2010. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/1766.
Testo completoAbstract (sommario):
Made available in DSpace on 2015-09-25T12:19:29Z (GMT). No. of bitstreams: 1
Raquel de Araujo Serrao.pdf: 1547014 bytes, checksum: 43647a759ed489b5fd8c5658c7a8eaa8 (MD5)
Previous issue date: 2010-03-30sem Resumo
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Lorenzi, Marie-Emilie. "Activisme rose : cultures et arts féministes queer en France". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010578/document.
Testo completoAbstract (sommario):
Le terme "Queer" ne résonne pas de la même façon en version originale - le contexte anglo-saxon d'émergence - qu'en version française. L'objectif principal de cette recherche est de questionner les phénomènes de transferts culturels dans le contexte français du féminisme queer, à la fois mouvement de pensée critique, activisme et subculture apparus au milieu des années 1980 aux Etats-Unis. De cette traduction culturelle du mouvement queer en France est né un activisme rose qui à l'inverse du contexte anglo-saxon a développé une politique basée sur une forte affirmation identitaire, à la fois collective et individuelle, afin de déjouer le modèle d'intégration français largement imprégné d'idéaux républicains et où les dérives d'un universalisme abstrait conduisent à l'aveuglement face aux inégalités entre les individus. Ainsi la question centrale qui anime cette recherche est d'examiner comment cet activisme rose fait irruption dans le contexte français réfractaire aux politiques identitaires.Et, au-delà de la seule traduction linguistique, les phénomènes de réception et d'appropriation dans le contexte français du féminisme "queer" sont à comprendre dans toutes leurs dimensions : culturelle, politique, théorique, artistique, etc. Ainsi, cette recherche cherche à comprendre les spécificités de cet activisme, de son inscription parfois mouvementée au sein des mouvements féministes et des mouvements dits LGBT, à ses applications particulières en terme de pratiques culturelles et artistiques, afin d'interroger le phénomène d'esthétisation des techniques de lutteThe term queer, when used in the French language, does not echo the same way as in English –then referring to the anglo-saxon context of emergence. The main purpose of this study is to question the phenomena of cultural transfers of queer feminism – which appeared in the mid 1980s in the United States as both a subculture and a movement of critical thinking and activism- into the French context. This cultural translation resulted in pink activism which unlike its anglo saxon original model developed a policy based on strong identity affirmation, on both a collective and individual level. The goal was to beat the French integration system deeply imbued with republican ideals, where the drifts of an abstract universalism had produced blindness towards inequalities therefore the central issue investigated in this research is how this pink activism arose in a French context of opposition to identity-based politics.Moreover, the phenomena of reception and appropriation of queer feminism into the French context must be understood beyond the sole linguistic translation – in all their dimensions, cultural political, theoritical, artistic, etc. This study aims to understand the special features of this activism, from its sometimes uneasy integration among feminist and LGBT movements to its specific applications in terms of cultural and artistic practices, thus questioning the phenomenon of aestheticism of resistance techniques
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Abdulrahim, Safaa. "Between empire and diaspora : identity poetics in contemporary Arab-American women's poetry". Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/19525.
Testo completoAbstract (sommario):
This dissertation aims to contribute to the burgeoning field of Arab-American feminist critique through an exploration of the work of four contemporary Arab-American women poets: Etel Adnan (1925-), a poet and a visual artist and a writer, Naomi Shihab Nye (1952-), poet, a song writer, and a novelist, Mohja Kahf (1967-), a poet, an Islamic feminist critic and author, and Suheir Hammad (1973-), a hip-hop poet and political activist. The study traverses the intersections of stereotypical racial and Orientalist discourses with which these women contend, and which have been further complicated by being shaped against the backdrop of the “War on Terror” and hostility against Arabs, Muslims and Arab-Americans in the post-September 11 era. Hence, the study attempts to examine their poetry as a tool for resistance, and as a space for conciliating the complexities of their hyphenated identities. The last two decades of the twentieth-century saw the rise of a rich body of Arab-American women writing which has elicited increasing academic and critical interest. However, extensive scholarly and critical attention was mainly drawn to novels and non-fiction prose produced by Arab-American women writers as reflected in the huge array of anthologies, journal articles, book reviews and academic studies. Although such efforts aim to research and examine the racial politics that have impacted the community and how it relates to feminist discourses in the United States, they have rarely addressed or researched how the ramifications of these racialised politics and discourses are articulated in Arab-American women’s poetry per se. Informed by a wide range of postcolonial and United States ethnic theory and criticism, feminist discourses of women of colour such Gloria Anzaldúa's borderland theory, and Lisa Lowe's discussions of ethnic cultural formations in addition to transnational feminism, this study seeks to lay the groundwork for a complex analysis of Arab-American feminist poetics, based on both national and transnational literary approaches. The dissertation addresses the following questions: how does the genre of poetry negotiate identity politics and affiliations of belonging in the current polarized and historical moment? How do these women poets challenge the troubling oppressed/exoticised representations of Arab/Muslim women prevalent in the United States mainstream culture? How does each of these poets express their vision of social and political transformation? Emphasising the varying ethnic, religious, national, political, and cultural backgrounds and affiliations of these four poets, this dissertation attempts to defy any notion of the monolithic experience of Arab-American women, and argues for a nuanced understanding of specificity and diversity of Arab-American feminist experiences and articulations. To achieve its aim, the study depicts the historical evolution of Arab women’s poetry in the United States throughout four generations in order to examine the deriving issues and formative elements that contributed to the development of this genre, and also to pinpoint the defining characteristics marking Arab-American women poetry as a cultural production of American women of Arab descent. Through close readings and critical analyses of texts, the dissertation offers an investigation of some of the major themes and issues handled by these Arab-American women to highlight the most persistent tropes that mark this developing literary genre. Eventually, this study shows how literature, and specifically poetry becomes a conduit to investigate Arab-American cultural and sociopolitical conditions. It also offers productive explorations of identities and representations that transcend the rigid essential totalising categorisation of identity, while attempting to forge a new space for cultural translation and social transformation.
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Scardoelli, Marina Donato. "Matamos as meninas : notas e comentários à tradução do ensaio On tue les petites filles, de Leïla Sebbar /". São José do Rio Preto, 2019. http://hdl.handle.net/11449/183662.
Testo completoAbstract (sommario):
Orientador: Maria Angélica DeângeliBanca: Flávia Nascimento Falleiros
Banca: Viviane Veras
Resumo: Esse trabalho tem por objetivo apresentar a tradução parcial comentada do ensaio On tue les petites filles : une enquête sur les mauvais traitements, sévices, meurtres, incestes, viols contre les filles mineures de moins de 15 ans, de 1967 à 1977 en France, publicado em 1978 pela autora argelina Leïla Sebbar, cuja extensa bibliografia é composta por obras que remetem, principalmente, ao universo feminino, a questões de identidade, imigração e exílio. O ensaio que compõe nosso objeto de estudo é um dos mais expressivos da carreira da autora e traz relatos de abusos e violência contra meninas menores de quinze anos, como maus tratos, assassinato, incesto, pedofilia e estupro, nos anos de 1967 a 1977 na França. Em nossa pesquisa, buscamos esclarecer, por meio das notas do tradutor, questões culturais, históricas, linguísticas e ideológicas que julgamos relevantes para a tradução, baseando-nos em teorias pós-modernas de tradução que procuram incorporar a pauta feminista em sua prática. Além disso, também fazemos uma reflexão sobre o gênero tradução comentada e as possibilidades de leitura que se abrem com a nota do tradutor
Abstract: This research aims to translate and comment Leïla Sebbar's essay On tue les petites filles : une enquête sur les mauvais traitements, sévices, meurtres, incestes, viols contre les filles mineures de moins de 15 ans, de 1967 à 1977 en France, published in 1978. This is one of the most expressive writings in Sebbar's career, since it shows several reports of abuse and violence against girls under fifteen years of age. These reports include denunciations of mistreatment, murder, incest, pedophilia and rape during 1967 and 1977 in France. In our research, we intend to use translator's notes to clarify cultural, historical, linguistic and ideological issues that we deem relevant in translation. To accomplish our goal, we rely on postmodern theories of translation that seek to incorporate feminist theory into its practice. In addition, we also make some considerations on the commented translation genre and the multiple reading possibilities brought by translator's notes
Résumé: L'objectif de cette recherche est de présenter la traduction partielle et commentée de l'essai On tue les petites filles : une enquête sur les mauvais traitements, sévices, meurtres, incestes, viols contre les filles mineures de moins de 15 ans, de 1967 à 1977 en France publié en 1978 par l'écrivaine algérienne Leïla Sebbar, dont la vaste bibliographie comprend des oeuvres qui renvoient principalement à l'univers féminin, aux questions d'identité, d'immigration et d'exil. Cet essai, qui est l'un des plus expressifs de la carrière de l'auteure, présente des récits d'abus et de violence contre des petites filles de moins de quinze ans, tels que mauvais traitements, meurtres, inceste, pédophilie et viols, pendant les années de 1967 à 1977, en France. À l'aide des notes du traducteur, nous avons l'intention d'expliciter les questions culturelles, historiques, linguistiques et idéologiques qui sont, à notre avis, pertinentes pour la lecture de cette traduction. Notre recherche s'appuie sur les théories post-modernes de la traductologie et incorpore les idées féministes sur le processus de traduction. Par ailleurs, nous faisons aussi une réflexion sur le genre traduction commentée et les possibilités de lectures ouvertes par les notes du traducteur
Mestre
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Castro, da Cunha Luiz Manoel. "Les drailles féminines de « Grande Sertão Veredas » de João Guimarães Rosa, dans la traduction intersémiotique photographique de Maureen Bisilliat". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL017/document.
Testo completoAbstract (sommario):
Cette thèse a été conçue comme une analyse des relations existantes entre la littérature et la photographie. Elle a pour objet d'étude l'oeuvre littéraire Grande Sertão: Veredas (1956) de João Guimarães Rosa, traduite par des photographies de Maureen Bisilliat à partir de l’original de João Guimarães Rosa (1969). Bien que la photographie ait essayé d’interagir avec la littérature dès ses prémices en 1849, ce ne sera qu'avec l'arrivée des mouvements avant-gardistes qu'apparaîtra une plus grande interaction entre les deux arts. Ceci favorisera des questionnements sur le « travail artistique », et ce, pas uniquement pour le domaine de la photographie, mais pour l'Art, en général. L'accent est mis sur cette période de grande interaction, s’appuyant surtout sur l'école surréaliste, considérée comme innovante et pionnière artistique pour son interaction entre ces deux langages. Dans le domaine littéraire, l'étude sur l'interaction avec les écrivains a favorisé une connaissance sommaire de quelques noms qui ont dialogué avec la photographie dans leurs œuvres, écrivains passionnés par la photographie, considérés également comme photographes. Dans cette étude s’opère une traduction intersémiotique, ou une transposition créative. L'image photographique ne sert pas uniquement à illustrer les mots de l'écrivain. Elle dialogue avec le texte et cette construction n'est ni aléatoire ni directe. Le travail démontre que le processus créatif des artistes est similaire, dans la diversité de leur esthétisme. Bien que tous deux expriment leur spécificité, ils partagent des équivalences, qu'elles soient convergentes ou divergentes, transmises grâce à des images métaphoriques de l'ambiance du Sertão et de ses habitants. Dans le dialogue inter-sémiotique construit à partir de A João Guimarães Rosa, le roman Grande Sertão: Veredas a dû être fragmenté en légendes, pour que la photographie puisse explorer à loisir l'univers féminin latent de l’œuvre. Cette féminité est dévoilée progressivement grâce aux théories littéraires émanant de l'ensemble des critiques parues sur le roman. Le reportage-photo fonctionne dès lors que les personnages affleurent dans les images, notamment grâce aux légendes, mais aussi grâce aux éléments silencieux qui jaillissent des clichés, rattachés à l'univers durandien: l'élément féminin présenté dans les images appartient au régime nocturne. Maureen Bisilliat nous laisse croire en la possibilité d'une nouvelle signification de l'oeuvre de Guimarães Rosa, des relations entre la réalité et la fiction, dualité présente depuis le surréalisme, en accord parfait avec l'Imaginaire de Gilbert DurandThis thesis conducted an analysis of the relationship between literature and photography, with the object of study the work: the novel Grande Sertão: Veredas (1956) by João Guimarães Rosa, which has translated for the photography of Maureen Bisilliat in the work, A João Guimarães Rosa (1969). Since its inception, photography rehearsed some steps in the dialogue with the literature. However, were the vanguard of movements that showed greater interaction, leading questions about the artistic work not only on the picture that tried to consolidate as art as well as art by itself in general. Surrealism can be considered as a landmark dialogue, innovation, artistic pioneer among these languages. In the literature, the study of the interaction with writers provided a brief knowledge of some names in the literature that dialogued with photography in his works, lovers of the photographic medium, were also considered photographers. In this work, we treat photography as a inter-semiotic translation, or even creative transposition. The photographic image is not only meant to illustrate the words of the writer. It dialogues with the text, and this construction does not occur randomly and direct way. The research demonstrated that the creative process is similar on both artists the diversity of its aesthetic. The two express their specificities, but at the same time, they nevertheless share equivalents, either convergences or divergences, enabled through metaphorized pictures of backcountry environment and its inhabitants. In intersemiotic dialogue built on João Guimarães Rosa, it was necessary to fragment the novel Grande Sertão: Veredas in captions for the picture to explore the latent feminine in this work. This femininity has been revealed through literary theory that presents a critical rich fortune about the female in Grande Sertão: Veredas. The photographic essay is driven in that the characters perceive the images surfacing through their legends, in addition to several female members silently emerge from images which related durandiano universe belonging to the nocturnal regime. Maureen Bisilliat, makes us believe in the possibility of reframing of Rosa's work, the relationships between reality and fiction, such as duality present from the surrealism that communes with the Imaginary of Gilbert Durand
Esta tese realizou uma análise das relações existentes entre literatura e fotografia, tendo como objeto de estudo a obra literária Grande Sertão: Veredas (1956) de João Guimarães Rosa, traduzida em fotografias de Maureen Bisilliat na obra A João Guimarães Rosa (1969). Apesar de a fotografia ensaiar passos na interação com a literatura desde o seu surgimento em 1849, os movimentos de vanguarda é que propiciaram questionamentos sobre o fazer artístico não só na fotografia, bem como da própria arte em geral. O diálogo entre essas linguagens enfatizou-se sobretudo na escola surrealista, considerada como um marco de inovação e pioneirismo artístico nessa inter-relação. Essa interação propiciou um breve conhecimento de alguns nomes da literatura que dialogaram com a fotografia em suas obras, escritores amantes da fotografia, alguns considerados também fotógrafos. Neste trabalho ocorre uma tradução intersemiótica, ou ainda, uma transposição criativa. A imagem fotográfica não serve apenas para ilustrar as palavras do escritor. Ela dialoga com o texto, e essa construção não se dá de maneira aleatória nem direta. A pesquisa demonstrou que o processo criativo de ambos os artistas é o mesmo na diversidade de suas estéticas. Os doisexpressam suas especificidades, mas, ao mesmo tempo, revelam equivalências, seja por convergências ou por divergências, viabilizadas por intermédio de imagens metaforizadas do ambiente sertanejo e em seus habitantes. No romance, foi necessária a fragmentação, em forma de legendas, por parte da fotógrafa para dialogar com as imagens, ao menos num primeiro momento. A feminilidade latente na obra é desvendada através da teoria literária, que apresenta um rica fortuna crítica acerca do feminino em Grande Sertão: Veredas. O ensaio fotográfico é acionado ao tempo que se percebe as personagens aflorando nas imagens literárias em suas legendas, além de diversos elementos que emergem, como as imagens relacionadas com o universo durandiano: o elementofeminino, pertencente ao regime noturno. Maureen Bisilliat faz acreditar na possibilidade de ressignificação da obra rosiana, das relações entre a realidade e a ficção, dualidade tão presente desde o surrealismo, que comunga com o Imaginário de Gilbert Durand
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Brizzi, Dominique. "Traduction et écriture féminine : de Madame de Lafayette à Sibilla Aleramo, Renata Debenedetti et Rosetta Loy (à propos de La Princesse de Clèves)". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA106.
Testo completoAbstract (sommario):
Trois traductions italiennes de La Princesse de Clèves réalisées en Italie au XXe siècle par des femmes ayant marqué, à des titres divers, la vie littéraire italienne de leur temps constituent le point de départ de notre analyse : en 1933 celle de Sibilla Aleramo, en 1988 celle de Renata Debenedetti et en 1999 celle de Rosetta Loy. L’évolution du contexte historique et socio-culturel ainsi que le statut différent de ces trois femmes permet d’étudier la variation des contraintes de production et des conditions de réception de ces traductions. Le choix de certains passages de l’ouvrage de Mme de Lafayette consent de mettre en relief les caractéristiques principales de ce texte et de comprendre les problèmes traductifs que cela pose. Ce premier roman moderne de la littérature européenne écrit par une femme et publié anonymement ne cesse en effet d’interroger et d’intriguer les femmes écrivains de nombreux siècles plus tard. Le rapport entre traduction et écriture féminine est alors interrogé. La relation entre les choix traductifs et leur personnalité d’écrivain et d’intellectuelle débouche sur l’étude de leurs ouvrages dont les caractéristiques stylistiques et thématiques récurrentes évoquent la notion de féminin dans l’écritureThree Italian translations of The Princess of Cleves, made in Italy in the twentieth century by women who marked in various ways the Italian literary life of their time, are the starting point of our analysis: Sibilla Aleramo’s in 1933, Renata Debenedetti’s in 1988 and then Rosetta Loy’s in 1999. The evolution of the historical and sociocultural context as well as the different status of these three women allow us to study the variation of production constraints and reception conditions of these translations. The choice of some extracts from Madame de Lafayette’s novel consents to highlight the main features of the text and understand the translation problems that this arises. This novel, the first in modern European literature written by a woman and published anonymously, continues to question and fascinate women writers many centuries later. The relationship between women's writing and translation is then questioned. Subsequently, the relationship between translation’s choices and their personality of writers and intellectuals leads to the study of their works whose recurring stylistic and thematic characteristics evoke the notion of “feminine writing”
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Wallmach, Kim. "Difference/derivation: feminist translation under review". Thesis, 2011. http://hdl.handle.net/10539/10395.
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