I will never leave you: um estudo do processo de tradução de Taken, de Winsome Pinnock do inglês britânico para o português brasileiro
As it relates to the seven arts (ABRA, 2022), theater is made up of at least four of them: literature, painting, dance and music. In this mythic, theatrical composition crosses some artistic boundaries, as does translation. Translators, as actors and magicians (AMARANTE, 2020), seek, through the art...
| Autor principal: | Santos, Letícia Silva |
|---|---|
| Formato: | Dissertação |
| Idioma: | Português |
| Publicado em: |
Universidade Tecnológica Federal do Paraná
2023
|
| Assuntos: | |
| Acesso em linha: |
http://repositorio.utfpr.edu.br/jspui/handle/1/30797 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: |
As it relates to the seven arts (ABRA, 2022), theater is made up of at least four of them: literature, painting, dance and music. In this mythic, theatrical composition crosses some artistic boundaries, as does translation. Translators, as actors and magicians (AMARANTE, 2020), seek, through the art of translating, to recreate an art in a new context. With this concept, this research seeks, with theoretical support, to analyze the process of translation of the dramatic text Taken (2010), by British author Winsome Pinnock, into Brazilian Portuguese, observing the challenges and problems of translation, contextualization, and reception. Using the theoretical contribution of Andrew Chesterman (2014), Susan Bassnett (2003), Antoine Berman (2013), Itamar Even-Zohar (1990), John Milton (2015), Salvatore D'Onofrio (2007), Patrice Pavis (2015) and Rafael Lanzetti et al (2009), this research is developed about the challenges of translation, the dramatic, theatrical, and literary text, and the insertion of a given text in a new literary polysystem. In addition, a theoretical investigation is developed concerning the themes addressed by the theater company Clean Break, as well an resume by their productions, presenting to the Brazilian reader, how the constitution of the female identity converges with the British prison system. Moreover, the text observes, through specific articles (GRIFFIN, 2011, 2006, 2003; GODDARD, 2015, 2007), how the writer of Jamaican descent has consolidated herself in the mainstream of British theater. With the relation of the works published, until then, it is noted the particularity in common between the texts written by Winsome Pinnock: the deconstruction of the black identity and its stereotypes in the English society. And, with a theoretically supported analysis, excerpts contribute to illustrating the proposed translation, as well as, undertaking the justification for the translation choice which, as an appendix, is presented in full. Levada, then, is among us. |
|---|