Traços feministas em traduções brasileiras de obras de Anne Hébert
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2012-10-01
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Universidade Federal de Goiás
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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.
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.
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PORTO, L. V. Traços feministas em traduções brasileiras de obras de Anne Hébert. 2012. 210 f. Tese (Doutorado em Letras e Linguística) - Universidade Federal de Goiás, Goiânia, 2012.