1. Curso de Especialização em
Língua Inglesa: Metodologia
da Tradução
I Jornada Tradufire

2. Tradução e Literatura
Dulce Porto Rodrigues

3. “I see translation as the attempt to
produce a text so transparent that it
does not seem to be translated. A good
translation is like a pane of glass.
You only notice that it’s there when
there are little imperfections—
scratches, bubbles. Ideally, there
shouldn’t be any. It should never call
attention to itself.”
(NORMAN SHAPIRO, apud LAWRENCE VENUTI,
2004)

4. TRANSLATION
 “Interlingual translation – translation
proper: interpretation of verbal signs
by means of some other language.”
(VENUTI, 2000)
 “[...] two equivalent messages in two
different codes.”(ROMAN
JAKOBSON, apud VENUTI, 2000)

5. Interlanguage and its
manifestaion in translation
 Transitional language(CORDER, apud
TOURY, 1979)
 Translation – puts the translator as
potential bilingual
 Translation – from SL in which the
translator is competent into TL where
his competence is only partial and
insufficient (TOURY, 1979, p. 224)

6. Interlanguage and its
manifestaion in translation
 “Reading as the original” and “ reading
as an original” (TOURY, 1979, p. 227)
 Great difference between linguistic
and translation equivalence
 The translator – “ a native speaker” of
the source language
 Inclusion of psycholinguistics and
sociolinguistics

7. CDA - Language
 Socially significant – intention
 Intentional possibilities of language
 At any given historical moment of verbal-ideological life –
not neutral
 Today and yesterday – socio-ideological and political day
 Poetry despersonalizes days in language
 At any given moment of its history language is heteroglot –
co-existence of socio-ideological contraditions between the
present and the past
 Forms for conceptualizing the world in words
 As a living, socio-ideological thing, language lies on the
borderline – oneself and the other
 The word in language is half someone else´s

8. CDA - Story
 Sequence of actions or events in their
chronological order
 Discourse – discursive presentation or narration
of events
 Narrative – the representation of a series of
events
 Real or proper temporal order – events occur
simultaneously or successively
 Events – have temporal relations with one another
 Events – product of discursive forces – discourse
is essential to the force of the narrative
 Plot – sequence of events – thematic structure

9. CDA - Language and
Literature
 Prose writers – use of words with social
intentions of others and to serve their own
intentions as well
 Styles – embodies samantic and axiological
intentions of the author
 Common language – for a given social group –
the going point of view and the going value
 To a certain degree, the author distances
himself from common language - hypocritical

10. CDA - Narrative
 Plato – antithesis of imitation:
1. simple narrative – poet tries to persuade
the reader that the speaker is somebody
else other than himself
2. imitation – the speaker in the person of
the character
 Distinction in genre – narrative and
imitation – verbal/non-verbal
 Mimesis = Diagesis

11. Translation and
Literature
1. Narrative
2. Characters
3. Language

12. The Great Gatsby – Breno Silveira
 “A small, flat-nosed Jew raised
 “Um judeuzinho de nariz chato
levantou sua grande cabeça e
his large head and regarded me
fitou-me, dois belos tufos de pêlos
with two fine growths of hair
a sair-lhe, luxuriantes, pelas
which luxuriated in either narinas.” (p. 87)
nostril.” (p. 70)
 “ - Uísques? – indagou o maitre-d
 “‘Highballs?’ asked the head ´hôtel.
waiter. - Este é um bom restaurante –
‘This is a nice restaurant here,’ said comentou o Sr. Wolfsheim,
Mr. Wolfshiem looking at the olhando as ninfas presbiterianas
Presbyterian nymphs on the pintadas no teto. – Mas prefiro o
ceiling. do outro lado da rua!
‘But I like across the street better!’ - Sim, uísques – concordou Gatsby e,
‘Yes, highballs,’ agreed Gatsby, and voltando-se para o Sr. Wolfsheim:
then to Mr. Wolfshiem: - É muito quente lá.” (p. 88)
‘It’s too hot over there.’ “(p.71)

13. The Great Gatsby – Breno Silveira
 “‘You wouldn’t have to do  “ – Você não teria de meter-se
any business with em negócio algum com
Wolfshiem.’” Wolfsheim.”
 “Evidentemente, julgou que
eu quisesse evitar qualquer
 “Evidently he thought that
contato com Wolfheim, mas
I was shying away from the
assegurei-lhe que ele estava
‘gonnegtion’ mentioned at
enganado. Ele aguardou
lunch, but I assured him he ainda um momento, à espera
was wrong. He waited a de que eu iniciasse alguma
moment longer, hoping I’d conversa, mas eu estava
begin a conversation, but I demasiado absorto para que
was too absorbed to be pudesse mostrar-me
responsive, so he went receptivo, de modo que ele, a
unwillingly home. “(p. 85) contragosto, voltou para
casa.”(p. 103)

14. The Raven - Machado de Assis
Once upon a midnight dreary, Em certo dia, à hora, à hora
while I pondered, weak and
Da meia-noite que apavora,
weary,
Eu, caindo de sono exausto de
Over many a quaint and curious
fadiga,
volume of forgotten lore,
Ao pé de muita lauda antiga
While I nodded, nearly
napping, suddenly there De uma velha doutrina, agora
came a tapping, morta,
As of some one gently rapping, Ia passando, quando ouvi à
rapping at my chamber door. porta
“Tis some visitor”, I muttered, Do meu quarto um soar
“tapping at my chamber door devagarimho
– E disse estas palavras tais:
- Only this and nothing “É alguém que me bate à porta
more. de mansinho.”

15. The Raven - Fernando Pessoa
Once upon a midnight dreary, Numa meia-noite agreste,
while I pondered, weak and quando eulia, lento e
weary, triste,
Over many a quaint and curious Vagos, curiosos tomos de
volume of forgotten lore, ciências ancestrais,
While I nodded, nearly E já quase adormecia, ouvi o
napping, suddenly there que parecia
came a tapping, O som de alguém que batia
As of some one gently rapping, levemente a meus
rapping at my chamber door. umbrais.
“Tis some visitor”, I muttered, “Uma visita”, eu me disse,
“tapping at my chamber door “stá batendo a meus
– umbrais.
- Only this and nothing É só isso, e nada mais.”
more.”

16. The Raven - Jorge Wanderley
Once upon a midnight dreary, Numa meia-noite erma, bem
while I pondered, weak and cansado e de alma
weary, enferma,
Over many a quaint and curious Enquanto eu lia de uns livros
volume of forgotten lore,
que já ninguém lembra
While I nodded, nearly mais,
napping, suddenly there
E estando quase adormecido,
came a tapping,
ouvi à porta um ruído:
As of some one gently rapping,
rapping at my chamber door. - Alguém que houvesse
batido, cometido, a horas
“Tis some visitor”, I muttered,
tais,
“tapping at my chamber door
– “Um visitante” – pensei – “que
- Only this and nothing se atrasou, talvez, demais:
more.” - É só isto e nada mais.”

17. The Hen – Elizabeth Bishop
 “She seemed calm. Since  “Parecia calma. Desde
Saturday she had cowered sábado encolhera-se num
in a corner of the kitchen. canto da cozinha. Não
She didn’t look at anyone, olhava para ninguém,
no one looked at her. Even ninguém olhava para ela.
when they had selected Mesmo quando a
her, fingering her escolheram, apalpando sua
intimately and intimidade com indiferença,
indifferently, they couldn’t não souberam dizer se era
have said whether she was gorda ou magra. Nunca se
fat or thin. No one would adivinharia nela um anseio.”
ever have guessed that she
had a desire.”

18. I Wandered Lonely as a Cloud - Eu vagueei só como uma nuvem
 I wandered lonely as a Cloud  Eu vagueei só como uma nuvem
 That floats on high o'er Vales and Hills, That floats on high o'er vales and hills, Que flutua no alto o'er vales e
colinas,
 When all at once I saw a crowd, When all at once I saw a crowd, Quando, de repente, vi uma multidão,
 A host, of golden Daffodils;
A host, of golden daffodils; Um acolhimento, de narcisos dourados;
 Beside the Lake, beneath the trees,
Beside the lake, beneath the trees, Ao lado do lago, debaixo das
 Fluttering and dancing in the breeze. árvores,
 Fluttering and dancing in the breeze. Vibrando e dançando na brisa.
 Continuous as the stars that shine Continuous as the stars that shine Contínuo, como as estrelas que
 And twinkle on the milky way, brilham
And twinkle on the milky way, E brilho na Via Láctea,
 They stretched in never-ending line They stretched in never-ending line Eles esticaram em Never Ending-
 Along the margin of a bay: line
Along the margin of a bay: Ao longo da margem de uma baía:
 Ten thousand saw I at a glance, Ten thousand saw I at a glance, Dez mil eu vi de relance,
 Tossing their heads in sprightly dance. Tossing their heads in sprightly dance. Jogando a cabeça na dança
 enérgico.
 The waves beside them danced; but they The waves beside them danced; but they As ondas ao lado deles
 Out-did the sparkling waves in glee: dançou, mas eles
Out-did the sparkling waves in glee: Fora fez as ondas espumantes
 A Poet could not but be gay, em Glee:
 In such a jocund company: A poet could not but be gay, Um poeta não poderia deixar de ser gay,
In such a jocund company: Em uma empresa tão alegre:
 I gazed--and gazed--but little thought I gazed---and gazed---but little thought Eu olhava e olhava --- --- mas
 What wealth the show to me had brought: pouca atenção
What wealth the show to me had brought: Que riqueza do show para

me trouxe:
 For oft, when on my couch I lie
For oft, when on my couch I lie Pois muitas vezes, quando no meu
 In vacant or in pensive mood, sofá eu minto
 They flash upon that inward eye In vacant or in pensive mood, Na vaga ou no humor pensativo,
 Which is the bliss of solitude; They flash upon that inward eye Eles piscam em que olho para dentro
Which is the bliss of solitude; O que é a felicidade de solidão;
 And then my heart with pleasure fills, And then my heart with pleasure fills, E então meu coração enche de
 And dances with the Daffodils. prazer,
And dances with the daffodils. E dança com os narcisos.

19. I WANDERED lonely as a cloud -
Maria Madalena
 I wandered lonely as a Cloud  Como nuvem eu vogava,
 That floats on high o'er Vales and Hills,
passando montes e prados,
 When all at once I saw a crowd,
quando súbito avistava
 A host, of golden Daffodils;
narcisos mil e dourados,
 Beside the Lake, beneath the trees, junto ao lago, na floresta,
 Fluttering and dancing in the breeze. dançando na brisa lesta.

 Continuous as the stars that shine Contínuos como as estrelas
 And twinkle on the milky way, na Estrada de Santiago,
 They stretched in never-ending line infindos se alongam pelas
 Along the margin of a bay: curvas margens desse lago.
 Ten thousand saw I at a glance, E as cabeças sacudiam
 Tossing their heads in sprightly dance. no dançar em que existiam.
 As ondas também dançavam:
 The waves beside them danced; but they em menos viva folia.
 Out-did the sparkling waves in glee: Que poetas recusavam
 A Poet could not but be gay, tão alegre companhia?
 In such a jocund company:
 I gazed--and gazed--but little thought Olhei, e olhei, sem pensar
 What wealth the show to me had brought: estar vendo coisas sem par.
 Que às vezes, quando me afundo
 For oft, when on my couch I lie em vácua ou tensa vontade,
 In vacant or in pensive mood, eles brilham no olhar profundo
 They flash upon that inward eye que é bênção da soledade,
 Which is the bliss of solitude; e o coração se me enflora,
 And then my heart with pleasure fills,
e dança com eles agora.

 And dances with the Daffodils.

20. Vagava como uma nuvem solitária – Dulce P. Rodrigues
 I wandered lonely as a Cloud  Vagava como uma Nuvem solitária,
 That floats on high o'er Vales and Hills,  Que flutua sobre Vales e Colinas,
 When all at once I saw a crowd,  Quando de súbito avistei na área ,
 A host, of golden Daffodils;  Um bando de Narcisos dourados ;
 Beside the Lake, beneath the trees,  Ao longo do Lago, embaixo das árvores,
 Fluttering and dancing in the breeze.  Aos milhares dançando à brisa.

 Continuous as the stars that shine  Contínuo como as estrelas que brilham
 And twinkle on the milky way,  E piscam na Via Láctea,
 They stretched in never-ending line  Se esticavam em uma linha sem fim
 Along the margin of a bay:  Ao longo margeando a baia :
 Ten thousand saw I at a glance,  De relance vi milhares deles,
 Tossing their heads in sprightly dance.  Sacudindo suas cabeças em dança fagueira.

 The waves beside them danced; but they  As ondas ao lado deles também dançavam; mas elas
 Out-did the sparkling waves in glee:  Dançavam levantando espumas de alegria: -
 A Poet could not but be gay,  Um Poeta nada podia fazer a não ser se sentir feliz,
 In such a jocund company:  Em tal alegre companhia:
 I gazed--and gazed--but little thought  Divaguei – e divaguei– pensei
 What wealth the show to me had brought:  Que riqueza esse espetáculo me trouxe:


 For oft, when on my couch I lie  Quando muitas vezes aninhado no meu mundo
 In vacant or in pensive mood,  Ao léu ou pensativo,
 They flash upon that inward eye  Eles brilham no olhar profundo
 Which is the bliss of solitude;  O qual é o êxtase da solidão;
 And then my heart with pleasure fills,  Então de prazer meu coração se enche ,
 And dances with the Daffodils.  E com os Narcisos dança.

22. Bibliography
 HALLIDAY, Michael/HASAN, Ruqaiya. Language,
context, and text: Aspects of language in a social-
semiotic perspective. Australia: Deakin University
Press, 1985.
 MAINGUENEAU, Dominique. Pragmática para o
discurso literário. São Paulo: Martins Fontes, 1999.
 SELINKER, Larry. Rediscovering Interlanguage. UK:
Londman Group UK Limited, 1992.
 VENUTI, Lawrence. (Editor)The Translation Studies
Reader.USA: Routledge, 2004.
 _____________. The Translator´s Invisibility – A
history of translation. USA: Routledge, 2004.