Interfaces literárias da tradução: um estudo baseado em corpus de alguns aspectos da escrita de Cristóvão Tezza e de suas obras traduzidas para a língua inglesa
| Ano de defesa: | 2023 |
|---|---|
| Autor(a) principal: |
Rodrigues, Jessica Tomimitsu
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| Orientador(a): | |
| Banca de defesa: | , , , |
| Tipo de documento: | Tese |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Estadual do Oeste do Paraná
Cascavel |
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Letras
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| Departamento: |
Centro de Educação, Comunicação e Artes
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| País: |
Brasil
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| Palavras-chave em Português: | |
| Palavras-chave em Inglês: | |
| Área do conhecimento CNPq: | |
| Link de acesso: | https://tede.unioeste.br/handle/tede/7122 |
Resumo: | This following research aims at comparing the translated works by Cristovão Tezza (1952-), highlighting how his literary writing is mediated to the English Language by identifying the translators’ options and choices, mainly focusing on how they recover (or not) the creative lines of expression of the author. To do so, we identified the high-frequency words and keyness of Tezza’s novels, drawn by a corpus gathered for this research objective, in an expressive group of his novels published so far. Based on his books translated to English Language, Breve espaço (2013) / Brief space between color and shade (2014) and O filho eterno (2007) / The eternal son (2013), respectively, by Alan C. Clarke and Alison Entrekin, it was possible to pinpoint the translation characteristics, according to Baker (1996). In a specific way, we aimed at mapping excerpts in which the five keywords occur, expressive when it comes to Tezza’s writing, which are analyzed concomitantly with the contextual transposition to the translated narrative. As for the study of the translation pair, we based ourselves on the context of occurrence not only on its correspondence in translation, mapping the behavior of translational-linguistic option by Entrekin and Clarke on expressive passages for the Tezza’s aesthetics for the keyness words. This way, supported by the software WordSmith Tools, version 8, and its tools for data analysis, we draw attention to, as in the group of novels analysed from Tezza, the high-frequency of these words: pai (BE: frequency: 101; keyness: 2.786; OFE: respectively, 214; 611); father (BSBCS: 85; 113,27; TES: 185; 635.03); puta (BE: 14; 76,27; OFE: 11; 61.91, not having being found keyness figure for the TTs); vida (BE: none; OFE: 191; 227.10); life (BSBCS: none; TES: 165; 227,10); silêncio (BE: 80; 1.115; OFE: 32; 25.93); silence (BSBCS: 53; 137.52; TES: 30; 58,60), filho (BE: none; OFE: 294; 1.051,20) and son (BSBCS: none; TES: 247; 1.218,90). To comprehend the creative expression lines of Cristovão Tezza, we based our analysis on the main academic papers published up-do-date, such as: Kobs (2000), Amborska (2003), Almeida (2011), Fuscaldi (2013), Vale (2014) Silva (2016) and Fernandes (2017); also on the interviews and theorical books by the autor. We draw three convergence points among his novels: the dual of his autofiction construction, highlighted with the occurrence of the word father, son and life, Tezza’s vertigo language, highlighted with the occurrence of the word silence and the oral influence on his works, highlighted by mapping the word bitch. As for the methodological-theorical basis, we use the approach of Corpus Based Translation Studies (Baker, 1993, 1995, 1996), with the aim of analyzing the frequency and keyness figures. The Corpus Based Translation Studies and the Corpus Linguistics provided the research with a productive way to analyze the comprehensive corpus and to identify normalization tendencies on Cristovão Tezza’s translated books, turning them into a simpler and more fluid narrative for the foreign readers. |