A hist??ria de Henrique: quando as habilidades de l??der s??o testadas ap??s a ascens??o profissional

Henrique, funcion??rio antigo de um importante programa governamental, ?? promovido ao mais alto cargo do programa. Devido a algumas posi????es e a????es ortodoxas, colegas e superiores come??aram a questionar o estilo e as iniciativas de Henrique. Ele, por sua vez, ao identificar as cr??ticas, voltou-se para fora da institui????o, transformando-se em ???embaixador do programa???, com viagens semanais e cada vez mais ausente. Seus subordinados tamb??m come??aram a se queixar e o Ministro finalmente mostrou insatisfa????o a respeito. Ao final do caso, prop??e-se um exerc??cio de avalia????o sobre as habilidades de Henrique

Transtextualidade na tradução de "Der mann im fahrstuhl / The mann in the elevator"

In an age where Babel has turned into transcultural communication, an interlingual approach – i.e. in English and in French – to the translating process from German to Portuguese appeared pertinent. Aiming at a refinement of the translating competence, this process consists in contrasting different linguistic and literary strategies through an intercultural and multi-etymological perspective. Thus, we settled upon Heiner Müller‘s play Der Auftrag. Erinnerung an eine Revolution (1980), on which the composer Heiner Goebbels has based himself to textually and musically dramatize an excerpt, Der Mann im Farhstuhl / The Man in the Elevator. A transcription of such excerpt in its source language, German, as well as its translation into English (Carl Weber, 1984, Performing Arts Publications, New York) and French (Jean Jourdheuil, Heinz Schwarzinger, Editions Minuit, Paris) can be found in the booklet that accompanies the CD – edited in 1988 by ECD (München: Records GmbH). It should be emphasized that such a creation allows a framing of Müller‘s text into a musical scenography and, therefore, encourages an intersemiotic contrast. This experience enabled us to come up with a unique imagery of Müller‘s piece of writing, by means of its dramatic and musical conversion and, simultaneously, lead us to stretch our textual consciousness to a multitude of intra-, extra- and interlinguistic elements.