Região Metropolitana de Goiânia (RMG)

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Navegando Região Metropolitana de Goiânia (RMG) por Por Orientador "Aguiar, Ofir Bergemann de"

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    Traços feministas em traduções brasileiras de obras de Anne Hébert
    (Universidade Federal de Goiás, 2012-10-01) Pôrto, Lílian Virgínia; Forsyth, Louise; Aguiar, Ofir Bergemann de; http://lattes.cnpq.br/9534583045600695; Aguiar , Ofir Bergemann; Pinto , Joana Plaza; Torres, Marie-Hèléne Catherine; Ramos, Nelson Luís; Faria, Zênia de
    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.
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    Redescobrindo uma controvérsia elizabetana: as (re)leituras do amor em traduções brasileiras dos Sonetos de Shakespeare
    (Universidade Federal de Goiás, 2004-06-18) Silva, Gisele Dionísio da; Aguiar, Ofir Bergemann de; Aguiar, Ofir Bergemann de; Rajagopalan, Kanavillil; Pinto, Joana Plaza
    The present assignment aims to investigate how the post-structuralist concept of language calls into question and redefines traditional notions relating to sign, text, reading and translation. Based mainly on the discussions brought about by French philosopher Jacques Derrida's deconstruction, this work intends to verify how the demystification of the idea of a stable and transcendent origin allows for a reconsideration of the conventional status attributed to the supposed 'original' text and the translation, in which both are inserted in an endless chain of intertextuality. Supported by the notion of difference as a basic and inevitable part of all human activities and relations, deconstruction sees in translation the status of a text in its own right, different from the 'original', to be carried out by a translator who's no longer mechanical and intelectually limited, but by a person sociohistorically, culturally and ideologically defined by his/her community. In order to detect the translator's authorship responsibility in his/her work – surrounded by interferences arising from his/her subjectivity and the coercions imposed by the context in which he/she lives –, four Portuguese translations of five poems from the Sonnets, written by the English poet and playwright William Shakespeare, will be examined. The lyrical work in question is of extreme interest due to the many controversies which have surrounded it since its publication in 1609, all of which have been invariably silenced by various critics because they refer to Shakespeare's sexuality and integrity as a national cultural property. Moreover, considering the fact that the Sonnets are the focus of very little critical reflexion in the Brazilian literary scenario, it becomes important to investigate whether the piece's sexual implications has played a major role in its timid reception in our territory. The translations selected for analysis are signed by Péricles Eugênio da Silva Ramos, Jerônimo de Aquino, Oscar Mendes and Jorge Wanderley. It is relevant to observe how translators in Brazil have come to terms with the polemic aspects of this poetic sequence, by shaping their texts with certain choices that allow for a vision of their concepts on language, literariness, poetry and translation.
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    Manoel de Barros: horizontes pantaneiros em terras estrangeiras
    (Universidade Federal de Goiás, 2007-11-30) Vieira, Tania Regina; Rees, Dilys Karen; http://lattes.cnpq.br/7851019818083889; Aguiar, Ofir Bergemann de; http://lattes.cnpq.br/9534583045600695; Aguiar, Ofir Bergemann de; http://lattes.cnpq.br/9534583045600695; Camargo, Goiandira Ortiz de; Fernandes, José; Camargo, Diva Cardoso de; Ramos, Nelson Luis
    The aim of this study is to analyze the reception of Manoel de Barros‟s work in foreign lands, focusing on the translation of some of his poems to English, Spanish and French. The object of research is a bilingual photograph album with Barrosian poetry translated into English by João Rache, para encontrar o azul eu uso pássaros/ to find blue I use birds, a Spanish anthology, Todo lo que no invento es falso, translated by Jorge Larrosa, and a French translation of O Livro das Ignorãças entitled La parole sans limite: une didactique de l’invention by Celso Libânio. Poems that were more expressive and representative of the author‟s literary production were selected to discuss the reception of his work abroad. Manoel de Barros was chosen because of the reflective and innovative content of his work, which from regional and telluric themes transcends the Pantanal‟s frontiers to reach universal horizons, allowing the extension of his work to foreign lands. This investigation is based on translation theory, especially on literary translation, and on language studies. The theoretical and critical framework is based on the reflections of Laranjeira, Meschonnic and Riffaterre and on the philosophical hermeneutics of Gadamer. We point out that our purpose is to develop an analysis which permits us to get an insight into Manoel de Barros‟s work to learn more about it and to understand the overall translation process. It is our belief that it is possible to find a meeting point in the diversity of the cultures through translation, enriching and broadening the knowledge of the target reader about the original culture.