Tradução para português das obras russas de Vladimir Nabokov: um caso de deturpação pela via do inglês

Dissertação de Mestrado apresentada ao Instituto de Contabilidade e Administração do Porto para obtenção do grau de Mestre em Tradução e Interpretação Especializadas, sob orientação de Doutora Maria Helena da Costa Alves Guimarães Ustimenko e Doutora Maria Manuela Ribeiro Veloso.

India's homosexual discrimination and health consequences

A large number of countries worldwide have legalized homosexual rights. But for 147 years, since when India was a British colony, Section 377 of the Indian Penal Code defines homosexuality as a crime, punishable by imprisonment. This outdated law violates the fundamental rights of homosexuals in India. Despite the fact that literature drawn from Hindu, Buddhist, Muslim, and modern fiction testify to the presence of same-sex love in various forms, homosexuality is still considered a taboo subject in India, by both the society and the government. In the present article, the continuation of the outdated colonial-era homosexuality law and its impact on the underprivileged homosexual society in India is discussed, as well as consequences to this group's health in relation to HIV infection.

Transvase : quando a ficção invade a realidade

ABSTRACT: Adopting the concept of metalepsis, as explained by Gérard Genette, I intend to tackle the miscegenation of ontological worlds as practiced in metacinematic films dealing either with the creator or the spectator and made famous with Woody Allen’s film The Purple Rose of Cairo (1985, EUA). Assuming the existence of two adjoining fictional universes, one of them intrafilmically projected onto a screen and the other positioned in front of it so as to create or observe the other, one realizes that, in fact, they both communicate in a more intense way. That is, they both can cross the barrier that separates them and function, literally, as communicating vessels thrusting themselves onto the other side of fiction. The use of this screen passage technique – which I call ‘spilling narrative’ – although it takes place inside the film, at an intradiegetic level, cannot be considered a simple comic effect. In actuality, it is a very serious affair, denoting the authorial intervention as a reflexive practice of écriture by means of a mise en abyme, according to Lucien Dällenbach. Therefore, the fictional spilling over of worlds which totally blends together both sides of the twice artificial universe of the fabula, represents the emotional and intellectual involvement of the creator with his/her creation and of the spectator with the world watched. Both illustrate the desire of fusion inherent in the acts of creation and reception. My approach will be based on Gabriele Salvatores’ Happy Family (2010) and Wojciech Marczewski’s Escape from the ‘Liberty’ Cinema (1990).

Os (in)sofismáveis caminhos do storytelling : Woody Allen e o documentário ficcionado

ABSTRACT: Between pure documentary and pure fiction there are, more and more, a reasonable number of cinematic alternatives that convey a dimension of non-reality. Between the pointedly factual discourse and the irrational belief in an entirely narrative world, there intervenes an informed conviction in a truthful but nonexistent universe, in which the formal enunciation sells an image of objectivity. In a path that leads us from the forms and contents of reflexive and performative documentaries, according to Bill Nichols, and ends up in fake documentary itself, we will have the opportunity to stress the filmic construction and its inherent narrative purpose, be it a fictional story or the creator himself as character (others would say subject) of the cinematic construct. In a boomerang kind of logic, the more the objects direct us to a referent, the more they restore us a creative/authorial reference and, along with it, the narrative idea that instills it. In Woody Allen’s case, this storytelling manifests itself in the fake documentary genre, which works as if it is the reality, only to better manifest the sole reality that interests the director: that of the metacinema, or the cinema as self-referencial reality. The practical examples will be derived from the following films: Take the Money and Run (1969) e Husbands and Wives (1992).

Éric Chevillard : des soucis esthétiques a l'engagement écologique

Artigo também disponível no PROA-UA: plataforma de revistas em open access da universidade de aveiro com o URI http://revistas.ua.pt/index.php/Carnets/article/view/768/695.

Une quête d'identité par le détour : «Dans ces bras-là», de Camille Laurens

L'articulation savante entre éléments autobiographiques, fiction et détournement de conventions sont caractéristiques du travail de Camille Laurens. Dans ces bras-là (2000) peut être décrit comme une quête d'identité par le détour de l'autre. En effet, le roman s'organise autour des trois rapports dichotomiques autobiographie-fiction, femme-homme et écriture-langage oral. Le résultat en est un regard complexe et profond sur l'identité de Camille Laurens qui est ici une femme, un auteur, mais aussi la narratrice d'un récit.

Diderot, le grand satirique

Diderot est davantage un humaniste et un non-conformiste qui se préoccupe beaucoup de la stabilité et du confort de l‘existence humaine. Il croit que l‘homme est né pour vivre en société et qu‘il doit être heureux. Toute cette philosophie ressort de ses oeuvres dont l‘objectif est celui d‘aider les hommes à atteindre le bonheur: il s‘agit donc d‘une littérature engagée. La verve satirique de Diderot est le fil directeur d‘une oeuvre variée et diverse qui risque de décourager le lecteur paresseux. L‘élément satirique rassemble les articles de L‟Encyclopédie, les Salons et les oeuvres fictives de Diderot, comme par exemple, Le Neveu de Rameau, Jacques le Fataliste et son Maître et La Religieuse. Bien que L‟Encyclopédie soit une entreprise scientifique, Diderot cache, dans plusieurs articles, pour tromper la censure, des attaques virulentes contre la morale, la religion et ses institutions. Il critique aussi les superstitions et les croyances don‘t s‘entourent les religions. Dans les Salons, Diderot rédige des appréciations sur les tableaux de quelques peintres, parus dans plusieurs expositions. Mais Diderot ne les décrit pas en tant que technicien, il s‘en sert pour faire une parodie de ces peintures, utilisant très souvent un langage grossier et un style gaillard. La satire est le lien entre la non-fiction et la fiction. Dans ses oeuvres romanesques on trouve la satire sociale et littéraire : Diderot y met en question le genre romanesque traditionnel, par conséquent Le Neveu de Rameau, Jacques le Fataliste et son Maître et La Religieuse se caractérisent par un décousu apparent et désordonné – c‘est la forme amusante dont Diderot se sert pour révéler aux lecteurs que les romans traditionnels les trompent. La forme désorganisée sert aussi à montrer le manque de liberté dont l‘homme jouit – l‘homme n‘est qu‘un guignol manipulé par le destin. En effet, en « déconstruisant » le roman, Diderot oblige le lecteur à réfléchir sur la condition humaine et l‘illusion romanesque de telle façon que le lecteur ne sait plus ce qui est faux et ce qui est vrai, surtout dans le cas de La Religieuse.

O uso de corpora na análise da representação do discurso em tradução

Este artigo apresenta uma pesquisa sobre a representação do discurso ficcional embasado na gramática sistêmico - funcional proposta por Halliday e na Lingüística de Corpus, utilizando-se o software WordSmith Tools. A análise focaliza a metafunção ideacional, realizada pelo sistema de transitividade, focalizando os processos mentais e a relação lógico - semântica da projeção. O objetivo da pesquisa foi observar como os pensamentos das personagens de um corpus ficcional são representados através dos verbos de elocução THINK e PENSAR, buscando descrever padrões textuais nos três romances que compõem o corpus.

Finnish Kullervo and chinese martial arts stories

Introduction: There are many important Finnish plays but, due to language barrier, Finnish drama is seldom exported, particularly to Hong Kong and China.. Objective: To find out differences in mentality between the Finnish and Chinese peoples by comparing the partially localized Chinese translation of Aleksis Kivi’s tragedy, Kullervo, with genuine Chinese martial arts literature. Methodology: 1. Chapman Chen has translated the Finnish classic, Kullervo, directly from Finnish into Chinese and published it in 2005. 2. In Chen’s Chinese translation, cultural markers are domesticated. On the other hand, values, characterization, plot, and rhythm remain unchanged. 3. According to Gideon Tory, the translator has to strike a golden mean between the norms of the source language and the target language. 4. Lau Tingci lists and explicates the essential components of martial arts drama. 5. According to Ehrnrooth’s “Mentality”, equality is the most important value in Finnish culture. Findings: i. Finland emphasizes independence while China emphasizes bilateral relationships. ii. The Finnish people loves freedom, but Gai Sizung argues that the Chinese people is slavish. iii. Finns are mature while many Chinese are, according to Sun Lung-kee (“The Deep Structure of Chinese Culture”; “The Deep Structure of Chinese Sexuality”), fixated at the oral and anal stages. iv. Finnish society highly values equality while Chinese interpersonal relationships are extremely complicated and hierachical. If Kullervo were a genuine Chinese kungfu story, the plot would be much more convoluted. Conclusion: The differences between Finnish and Chinese mentalities are so significant that partially localized or adapted Chinese translations of Finnish drama may still be able to introduce Finnish culture to the Chinese audience.

As representações da infância na publicidade televisiva

Dissertação de Mestrado, Ciências da Comunicação, 22 de Outubro de 2015, Universidade dos Açores.

A escrita de Ilse Losa para a infância e a juventude

Tese de Doutoramento, Estudos Portugueses, 15 de Setembro de 2015, Universidade dos Açores.

Sonhos e desilusões com a República

O texto expressa uma reflexão sobre a obra Triste Fim de Policarmo Quaresma, escrita em 1915, por Lima Barreto, escritor realista, brasileiro. Busca identificar nas narrativas e ações do seu narrador, um homem comum, as revoltas, mas também as esperanças dos homens comuns no recém criado regime republicano. Enfoca ainda que, apesar dos episódios narrados, dos personagens serem construções ficcionais do autor, nos remetem a personagens, diálogos e espaços do Rio de Janeiro que evocam a historia de um regime ditatorial de Floriano Peixoto, no alvorecer da Republica. Nesse regime, mostra o autor, que a insegurança, a insatisfação e o medo tomaram conta da população do Rio de Janeiro no começo do século XX. E Policarpo Quaresma, o personagem narrador da obra, sofrera as injustiças e arbitrariedades da ditadura do Marechal Floriano Peixoto. Diante disso, revela sua dor e plena desolação com a Republica, forma de governo pelo qual lutara e que ajudara a criar. Por fim, o texto procura mostrar que embora a literatura seja tecida com adornos da ficção, ela traduz a sociedade e o tempo no qual ela foi produzida, além de mostrar que o positivismo sustentava a pratica política da Republica brasileira.

O Dilema de clio: uma leitura paratextual do romance histórico Herculaniano

Pretende-se, neste estudo, analisar o pensamento historiográfico de Alexandre Herculano, a partir dos paratextos com que o escritor enriqueceu a sua obra de ficção. Com esta análise pretende-se mostrar como o historiador Alexandre Herculano pensava a história, como sentia as limitações impostas pelo paradigma científico que, na sua época, dominava ou pretendia dominar todas as áreas do saber, e como se viu forçado a recorrer ao romance histórico para, juntando-o à história, produzir a síntese do homem global que perseguia.

Representations of Portugal in Herman Hesse

The aim of my research is to answer the question: How is Portugal seen by non-Portuguese fictionists? The main reason why I chose this research line is the following: Portuguese essayists like Eduardo Lourenço and José Gil (2005) focus their attention on the image or representation of Portugal as conceived by the Portuguese; indeed there is a tendency in Portuguese cultural studies (and, to a certain extent, also in Portuguese philosophical studies) to focus on studying the so-called ‗portugalidade‘ (portugueseness), i.e., the essence of being Portuguese. In my view, the problem with the studies I have been referring to is that everything is self-referential, and if ‗portugueseness‘ is an issue, then it might be useful, when dealing with it, to separate subject from object of observation. That is the reason why we, in the CEI (Centro de Estudos Interculturais), decided to start this research line, which is an inversion in the current tendency of the studies about ‗portugueseness‘: instead of studying the image or representation of Portugal by the Portuguese, my task is to study the image or representation of Portugal by the non-Portuguese, in this case, in non-Portuguese fiction. For the present paper I selected three writers of the 20th century: the German Hermann Hesse and the North-Americans Philip Roth and Paul Auster

Alright: a distinctive pathway of change from the 18th century to the present day

The origins of the vast majority of the words we use in contemporary English go back as far as Old or Middle English. In contrast, alright and all right in their present-day application appear to be the result of a more recent evolution, as there is no evidence of their use, not even in the two-word form, in the published fiction before the 18th century. Furthermore, there are not in the research literature, at least to my knowledge, any previous linguistic studies on this specific subject matter. The present article is simply an attempt to describe the various processes of diachronic change that brought about the emergence of alright.