A problemática da semântica discursiva em processos de tradução: análise de duas traduções do poema The Raven, de Edgar Allan Poe
| Ano de defesa: | 2019 |
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| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Uberlândia
Brasil Programa de Pós-graduação em Estudos Linguísticos |
| Programa de Pós-Graduação: |
Não Informado pela instituição
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| Departamento: |
Não Informado pela instituição
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| País: |
Não Informado pela instituição
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| Palavras-chave em Português: | |
| Link de acesso: | https://repositorio.ufu.br/handle/123456789/30014 http://doi.org/10.14393/ufu.di.2019.709 |
Resumo: | Drawing from Discourse Analysis of French Line – more specifically from the theoretical framework developed by Dominique Maingueneau in his books Genesis of Discourses (2008) and Literary Discourse (2014) – this research seeks to verify how and to what extent the aesthetic positioning of the subject-translator, who in this research is reffered to as an auctor-translator (MAINGENEAU, 2014), affects the result of the translations performed by him in the literary field. For this purpose, two translations of the same poem are analyzed (each of them performed by authors-translators linked to different aesthetic positioning). Based on the direct collation between the source text and its translations, this work seeks to trace and to describe the enunciative and stylistic traits of the translated texts, which recurrences may point to a discursive identity materialized in each translation. The corpus of analysis of this research is composed of the poem The Raven by Edgar Allan Poe (source text), and two translations of the Brazilian writer Machado de Assis (1883) and the Brazilian Parnassian poet Antônio Emilio de Menezes (1917), both into Brazilian Portuguese. Our hypothesis is that translated literary texts carries along with them indications of the author-translator aesthetic positioning within the literary field, since he translates to another linguistic system whereas he is driven by the semantic filter of his aesthetic-discursive positioning. In other words, this study is based on the hypothesis that the aesthetic positioning of the subject-translators in the literary field regulates in all aspects the final result of their translations, as the utterances produced during the translation processes depend not only upon the original utterance from the source text, but also upon the restrictions of the semantic filter of each discursive positioning. Thus, during the development of this work, we sought to verify how translations of the same text - performed by authors-translators from different literary schools - differ from each other and from the source text and to what extent these differences can be taken as a result of the aesthetic positioning of the subject-translator in the literary field. The specific objective of this research is to verify the positioning of the authors-translators in the interlingua (Maingueneau, 2014), in order to corroborate the postulated of Maingueneau (2008), according to which the utterances are produced within the parameter of a system of semantic restrictions, from which one cannot escape (even when these utterances are produced during translation processes, which are based on a previous existing text and therefore does not constitute completely new utterances). The collected data corroborate the initial hypothesis of this research, since recurrent indications of the aesthetic positioning of each author-translator (an auctor-translator) were found materialized in their translations. The stylistic resources proposed by each aesthetic positioning in the literary field were mobilized and prioritized by these subject-translators to the detriment of the premise of preserving the literariness of the source text, as much as possible, in their translations (BRITTO, 2012). |