Rozprawy doktorskie na temat „Fugitive in literature”

Fugitive Nation: Contagious Democracies in American Literature of the Early National Period, 1793-1838 takes aim at the legislative gag-order on racial issues during the early national period. The gag-order suppressed national discussions of slavery and racial injustice until abolitionism rose in the 1830s, and its legacy continues today to impair our historical understanding of this deeply conflicted period of the American past. In order to restore this "fugitive" history, Fugitive Nation reconstructs a historical memory by uncovering the erstwhile silent record of race relations during the early national period, while demonstrating how this history of racial injustice is at the root of a liberal democratic tradition in American Letters. Thus, my study traces the ideological connections among disparate national narratives, from the more literary works of Charles Brockden Brown and James Fenimore Cooper, to the more popular and partisan documents circulating in the early national period. Magazines, congressional and society records, personal narratives, and documentary histories, such as cross-cultural accounts of the 1793 yellow fever epidemic and the annual reports of the American Colonization Society, provide a fuller understanding of the different roles race played in the nation's transformation from colony to state, even as they provide richly nuanced readings of early American literary works. Ultimately, Fugitive Nation corrects the fallacy of the "Great Contradiction"---that racial hierarchies were somehow inconsistent with a liberal Democracy---by demonstrating that America grew out of, and actually required, an increasingly punitive and divisive system of race relations.

Within the communities of The Double Hook, Fugitive Pieces, The Shipping News, and Crackpot, unexplainable and incomprehensible phenomena identify and define grace. Chapter one examines The Double Hook; analyzing the community's decimated state at the opening of the novel, it proceeds to an understanding of the role of grace within the community's recuperation of wholeness. Chapter two, focusing on Fugitive Pieces, examines an individual's responsibility in receiving grace and the manner in which grace expands when it is actively present in a community. Chapter three explores issues of incest, adultery, and death, which confront the community in The Shipping News. Rather than being destroyed by disaster, the community, consistently through the grace it receives, extends grace to those who most need it. Finally, chapter four reveals a community reconfigured by grace from a place of exclusion into a place of inclusion and restoration in Crackpot. The different perspective that each novel presents on the relationship between community and grace offers further insight into the incomprehensibility of grace and its consistent presence in Canadian literature.

Thesis (M.A.)--Indiana University, YEAR.
Title from screen (viewed on August 26, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jane E. Schultz, Jonathan R. Eller, Robert Rebein. Includes vita. Includes bibliographical references (leaves 80-83).

Après l’invention de l’impression typographique à la Renaissance s’est progressivement imposé un régime de connaissance dans lequel les signes n’ont plus de rapport essentiel avec un monde reconstitué spatialement au moyen des mots sur la page. L’âge classique en général et le XVIIIe siècle en particulier ont souvent été caractérisés par le primat de la vue comme moyen de connaissance, aux dépens des autres sens. C’est du moins une des thèses de Michel Foucault dans Les Mots et les choses.Notre thèse tente de nuancer cette perspective en montrant comment, au sein de la culture écrite dominante, persistent de vestiges de la culture orale traditionnelle ; non pas dans les manifestations plus ou moins archaïques de la culture populaire (farces, fêtes, foires, contes bleus), mais dans ce qui pourrait sembler une manifestation de la modernité même des Lumières : les machines. Le XVIIIe siècle a été fertile en dispositifs visant à produire des sons ou des images, et à les enregistrer. Parmi ceux-ci, nous avons particulièrement retenu les inventions, réelles ou imaginaires, de Tiphaigne de La Roche (surveillance auditive et fixation des images), de Diderot (composition automatique et conservation des pièces musicales), de l’abbé Mical (reproduction de la voix humaine) et du père Castel (enregistrement visuel des sons). En étudiant tant le détail de ces dispositifs que le contexte idéologique qui les a vu naître, nous essayons de montrer comment les Lumières ont été ouvertes à des formes variées d’appréhension du monde. Aujourd’hui, le développement de nouveaux moyens de communication nous familiarise à nouveau avec des modes de représentation plus analogiques que l’écriture. Les tensions propres au régime médiatique du XVIIIe siècle nous donnent des indices pour réfléchir aux problèmes actuels de la connaissance
After the invention of the printing press in the Renaissance, knowledge became progressively based on the use of signs with no essential relation with things, spatially reconstructed with words on the page. The classical age in general and the eighteenth century in particular have often been characterized by the primacy of sight as a means of knowledge, at the expense of other senses. Such is at least one of Michel Foucault’s arguments in the Order of Things.Our thesis strives to qualify this perspective and show how, within the domination of the written culture, remnants of the traditional oral culture survived. Not only in the archaic forms of popular entertainment such as fairs, farces and fairy tales, but in what might be considered as the epitome of modernity: machines. The eighteenth century was a hot bed of contraptions aiming to produce sounds and images and to record them. Among these, our attention has focused on the real or imaginary inventions of Tiphaigne de La Roche (audio monitoring and fixation of images) Diderot (automatic production and conservation of musical pieces), Abbé Mical (reproduction of the human voice) and Father Castel (visual transposition of sounds). The careful examination of such machines as well as the ideological context of their emergence, enables us to show how the Enlightenment was open to forms of comprehension of the world much more varied than is often stated.Today the development of new media has made us familiar again with modes of representation which are more analogical than words. The tensions proper to the media system of the eighteenth century provide us with instruments to think about our relation to the world around us

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Esta investigação tem como objetivo central analisar as tradições discursivas (TDs), dos anúncios de fuga de escravos dos jornais do Recife, do século XIX, e compará-las com as dos anúncios de procurados da atualidade, identificando os elementos constitutivos de ambos os gêneros, a fim de estabelecer um elo entre inovação e conservação de TDs entre os textos. Os critérios definidores da historicidade e tradicionalidade dos textos residem na repetição e evocação de expressões que adquirem valor de signos próprios, princípios que fundamentam a noção de TD. O arcabouço teórico está ancorado nos pressupostos das TDs, a partir das considerações de Coseriu (1979, 1980), Schlieben-Langue (1983), Koch (1997, 2008), Oesterreicher (1994, 1996, 2006), Kabatek (2003, 2004, 2005, 2008), da teoria dos gêneros textuais com Bakhtin (2003) e Marcuschi (2002; 2008), que procuram compreender a constituição e o funcionamento do gênero na sociedade; a prática do jornalismo impresso e na história da imprensa no Brasil e em Pernambuco com Rizzini (1968), Sodré (1999), Pessoa (2002; 2006) e Barbosa (2010); a história social da escravidão no Brasil com Freyre (1967/2010; 2006), Schwarcz (1987) e Carvalho (2010); e nas análises linguístico-discursivas que se apoiam nos trabalhos de Oesterreicher (1994), Pessoa (2003) e Toral (2013). A metodologia consiste no método histórico e na abordagem quanti-qualitativa, pautada na análise estrutural, descritiva, interpretativa dos dados, e na pesquisa documental e bibliográfica. A investigação inicial reside na averiguação das TDs que permaneceram retoricamente situadas nos anúncios de fuga de escravos e quais delas mudaram e migraram para os anúncios de procurados. No entanto, o anúncio de fuga de escravos, como TD da cultura impressa, o jornal, mostra-se como produção de autores semicultos, i.e., de competência escrita restrita, que transportam traços da fala à elaboração textual. As análises evidenciaram que tais anúncios estão muito próximos do que Oesterreicher denominou de imediatez comunicativa, apresentando sintaxe truncada, ausência de pontuação ou pontuação inadequada e ausência de elementos sintáticos que contribuem com a ruptura no tópico discursivo, entre outros aspectos. As análises empreendidas não pretendem submeter os dados às exigências de uma teoria, mas de valorizar o jornal como fonte histórica, dos anúncios de fuga escravos (diacronia) e de procurados (sincronia) como TDs legítimas tanto para as análises linguísticas, quanto para a história social. Ao falarmos em repetição, evocação, atualização e tradição, acreditamos que uma língua particular, como o português brasileiro, é afetada pelos aspectos históricosociais e, em decorrência disso, há elementos tradicionais que se tornam imutáveis e outros que são vulneráveis a mudanças, favorecendo, dessa forma, a mudança linguística.
This research aims at analyzing the discursive traditions (DTs) “slaves escape ads” of newspapers from Recife, in the nineteenth century, and comparing them with those of today's wanted fugitives ads, identifying the constituent elements of both genders, in order to establish a link between innovation and conservation of DTs in texts. The defining criteria of historicity and traditionalism of the texts lie in repetition and evoking expressions that acquire value of own signs, principles underlying the notion of DT. The theoretical framework is anchored on the assumptions of the studies of DTs, from considerations of Coseriu (1979; 1980), Schlieben-Langue (1983), Koch (1997; 2008), Oesterreicher (1994; 1996; 2006), Kabatek (2003; 2004; 2005; 2008); the theory of genres with Bakhtin (2003) and Marcuschi (2002; 2008), by seeking to understand the constitution and functioning of the genre in society; the practice of print journalism in the history of the press in Brazil and Pernambuco with Rizzini (1968), Sodré (1999), Pessoa (2002; 2006) and Barbosa (2010); the social history of slavery in Brazil with Freyre (1967/2010; 2006), Schwarcz (1987) and Carvalho (2010); and the linguisticdiscursive analyses that support the work of Oesterreicher (1994), Pessoa (2003) and Toral (2013). The methodology consists of the historical method and the quantitative and qualitative approach, based on structural analysis, descriptive and interpretative data, and documentary and bibliographic research. The initial research is the investigation of DTs who remained rhetorically located in the slaves escape ads and which ones changed and migrated to the wanted ads. However, the announcement of slaves escape, as DT of print culture, the newspaper, is shown as production of semicultos (half-literate), i.e., authors with restricted writing competence, carrying traces of speech to textual written elaboration. Analyses show that such ads are very close to what Oesterreicher termed “communicative immediacy”, with truncated syntax, no punctuation or improper punctuation and absence of syntactic elements that contribute to the breakdown in the discursive topic, among others. The current analysis do not intend to submit the data to the demands of a theory, but to value the newspaper as a historical source of slaves escape advertisements (diachrony) and its transformation into wanted fugitives ads (synchrony) as legitimate DTs both for linguistic analysis, as for social history. When we talk about repetition, retrieval, update and tradition, we believe that a particular language, such as Brazilian Portuguese, is affected by sociohistorical aspects and, as a result, there are traditional elements that become immutable and others who are vulnerable to change, favoring thus the language change.

Cette thèse entreprend l’étude du corpus des récits d’esclaves africains-américains publiés entre 1825 et 1861 au prisme de l’histoire du livre et de l’édition. À partir de recherches sur archives, elle met au jour les modes de publication, de circulation et de réception de récits emblématiques – ceux de Frederick Douglass, William Wells Brown, ou encore Harriet Jacobs – et de récits moins connus. Partant, elle remet en cause certaines idées reçues sur ces récits de la période antebellum, dont la critique considère généralement qu’ils furent publiés grâce à l’aide des sociétés antiesclavagistes, qu’ils rencontrèrent un succès considérable auprès de la classe moyenne blanche du Nord et furent tirés à des milliers d’exemplaires, et qu’ils constituèrent rapidement un genre à part dans la production littéraire de l’époque. Il s’agit dans ce travail de montrer la diversité des dispositifs éditoriaux au sein desquels les récits d’esclaves virent le jour, en même temps que de s’interroger sur le rapport des Africains-Américains au livre et à l’imprimé et sur leurs pratiques en matière de publication, à un moment où l’industrie éditoriale est encore en cours d’émergence et où les acteurs du livre ne publient guère d’ouvrages ayant trait à l’abolitionnisme (au moins jusqu’à la parution d’Uncle Tom’s Cabin de Harriet Beecher Stowe en 1852). En réinscrivant les récits d’esclaves dans le réseau de pratiques et de discours qui ont permis leur essor, et en les considérant dans leur dimension matérielle, cette thèse entend montrer la nature hétérogène et fluide d’un objet littéraire souvent perçu par la critique comme formant un tout cohérent et strictement codifié
This dissertation is at the crossroads of two distinct disciplinary fields : African American studies and the history of the book. More specifically, it examines the publication, circulation, and reception of antebellum slave narratives—the narratives of Frederick Douglass, William Wells Brown, and Harriet Jacobs, as well as a number of lesser-known works. The story of the slave narrative is well rehearsed : narratives of ex-slaves, critics say, were usually written in collaboration with white abolitionists, with antislavery societies subsidizing publication ; they met with considerable success, going through multiple editions and selling in the tens of thousands ; they were largely directed toward a northern white audience ; and they soon emerged as a distinct genre in antebellum America. None of these statements is fundamentally untrue. The overall picture they paint of antebellum slave narratives is, however, a distorted one. Slave narratives were produced through a variety of authorial economies. Investigating these economies allows to shed new light not only on the slave narrative as a genre, but also on African Americans’ print practices at a time when the publishing industry was still emerging and when book people were reluctant to publish and distribute antislavery literature—at least before Harriet Beecher Stowe’s Uncle Tom’s Cabin came out in 1852. Acknowledging the heterogeneous and fluid nature of what is often perceived as a homogeneous and strictly codified genre gives us a better sense of how slave narratives might have been variously received and consumed in the decades preceding the Civil War

This dissertation presents an account of fugitivity in poetic form as well as political practice. In this account, fugitivity is an ecological strategy of resistance to enslavement, where ecology describes both the set of relations orchestrated between words on a page and the set of relations between species, including humans, on the plantation. In order to understand fugitivity as an ecological strategy, I examine the mutual imbrication of nascent theories of race and ecology in the long nineteenth century. I thus present two competing theories of race and ecology, each of which carries distinct poetic implications. The first, plantation poetics, is evident in poems written on and about plantations in the second half of the eighteenth-century. These poems, in their rigid poetic structures, reinforce the racial and ecological logics of the plantation, in which hierarchical relations between and within species are inherited from early natural histories, and are used to support both slavery and the monocultural cultivation of the plantation. In contrast to this system, I present a fugitive poetics that, sharing the theory of race and ecology as intertwined systems, turns that theory against the ends of the plantation and toward a poetics premised on shifting, porous relations, rather than hierarchies and containment. In so doing, I link fugitivity to a set of formal strategies that were fully operative in nineteenth-century poetics, ecological thought, and political resistance, and that remain relevant for political, ecological, and poetic thought to this day. Though this project follows a chronological trajectory, its aim is not to present a history of political resistance in the plantation era, nor even a history of poetic form in the nineteenth-century. Instead, it undertakes a strategic analysis of poetic form as necessarily linked to political resistance and to the long history of environmental racism. The first chapter establishes the colonialist poetic tradition I call plantation poetics, tied to maintenance of the ecological enclosure of the plantation. In the work of James Grainger, John Singleton, and Edward Rushton, I argue that the poetic line came to stand in for both the lines of the plantation and the delineation of racial hierarchy so yoked to the natural histories of the eighteenth century. The chapters that follow offer several different models of fugitive poetics, in the work of George Moses Horton and the editors of Freedom’s Journal, Thomas Wentworth Higginson and Emily Dickinson, and Albery Allson Whitman. While each of these writers engages with ecology and political domination differently, all of them combine political and ecological investments to create a poetic project that resists the plantation poetics of colonization. The distinct strategies employed by each writer teach us what poetic strategies, and what fugitive practices, are best suited to our current moment of ecological and political crisis.

The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels.
Doctor of Philosophy (PhD)

The main assertion of this thesis is that both 19th century and contemporary Gothic literary texts are characterised by fugitivity, embodied by the fugitive ‘figure’ which through its ambiguity is re-deploying the distinction proposed by Ross Chambers – inescapably both narrative and textual. The fugitive figure is intimately related to desire and its textual mobilisation. This mobilisation simulates the paradoxical experience of the sublime in which the pursuer of the fugitive figure is left speechless before the feared and desired unnamable other. Anne Rice’s ‘The vampire chronicles’ are discussed, as are ‘Frankenstein’, ‘The strange case of Dr Jekyll and Mr Hyde’ and ‘Dracula’. Analysis of these texts constitutes a ‘genealogy’, conceived and executed in poststructuralist terms, consisting of a deconstructive analysis inflected by psychoanalytic inputs. The genealogy is applied to indicate the importance of the family structure and its potential for dissolution in Gothic texts, and recreates a search for origins, which is a recurring theme in Gothic writing. The fugitive figure, through its embodiment of insatiable desire, is beyond either narrative or tropaic apprehension. It is in continual metamorphosis and invites pursuit in its different guises. However, although it appears as the objectified pursued, it actually arises from within the pursuer, so any attempt to arrest the disruptive flow it signifies is, although unavoidable and necessary, a self-deceptive act doomed to failure. This failure is registered simultaneously at narrative and textual levels.

This study explores Anne Michaels’s representation of the Second World War – with particular reference to the Holocaust – in her novel Fugitive Pieces. The study contends that Michaels demonstrates a way of remembering these traumatic and debilitating events which not only promotes physical, emotional and spiritual recuperation but is also capable of beneficially affecting the future. The first chapter contextualises the study by describing the literary debate that surrounds Holocaust representation in writing, a debate which furthermore entails an argument on the efficacy of literary techniques such as the use of metaphor. In the chapter, it is proposed that the novel ‘speaks out’ against silence, and privileges remembrance over disregard. The second chapter suggests that the novel is an example of the way in which metaphor can be used effectively to figure the Holocaust for survivors and victims, and for subsequent generations. Concomitantly, the chapter defends Michaels’s use of metaphor in its presentation of proposals, concerning her characters and their experience of the Holocaust, that display rare perspicacity and benevolence. The third and final chapter of this study comprises a four-section exploration of specific metaphors which the author uses in Fugitive Pieces to demonstrate that the horror characterising the Holocaust should not be the sum total of its effect, and that affirmations such as faith and hope can and did arise in the context of extreme physical and mental distress. This thesis is based on the proposition that Michaels’s layering of real-life testimony with imaginative intuition introduces her readers to a valuable way of dealing with the past and facing the future.

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

Dissertation

Indiana University-Purdue University Indianapolis (IUPUI)
The complicated state wherein ex-slaves found themselves, as depicted in the narratives of Bibb, Jacobs, and others, problematizes the dualistic relationship between North and South that the genre’s structural components work to enforce, forging an odyssey that, although sometimes still spiritual in nature, does not offer the type of resolutions that might easily persuade fellow slaves to abandon their masters and seek a similarly ambiguous identity in the so-called “free” land of the North. For blacks and especially fugitive slaves, such restrictive legal provisions provided an “uncertain status” where, writes William Andrews, “the definition of freedom for black people remained open.” In those slave narratives that dare to depict the limits of liberty in the North, this “open” status is particularly reflected in the texts’ discursive terrain itself, which portends a series of candid observations and brutal details that actively work to deconstruct any sort of mythological pattern associated with the slave narrative genre, thereby offering a more expansive view of the experience for most fugitive slaves. The Life of William Grimes, a particularly frank and brutal diary of a man’s trials within and without slavery, is one such slave narrative, depicting a journey that, while more consistent with the general experience of ex-slaves in the antebellum U.S., often works outside the parameters of traditional, straight-forward slave narratives like Douglass’s. “I often was obliged to go off the road,” Grimes admits at one point in his autobiography, and although his remark refers to the cautious path he must tread as a fugitive slave, it might just as well describe the thematic and structural characteristics of his open-ended autobiography. Reputedly the first fugitive slave narrative, the publication of Grimes’s Life in 1825 initiated the beginning of a genre whose path had not yet been forged, which likely contributed to its fluid nature. At the time of his narrative’s publication, Grimes’s self-expressed testimony of injustice under slavery was about five years ahead of its time; it wouldn’t be until the 1830s that the U.S. antislavery movement would begin to consciously seek out ex-slaves to testify to their experience in bondage. Once this literary door was open, however, antislavery sentiment became for many early African American authors “a ready forum” for self-expression. Whereas in twenty years’ time Douglass would take full advantage of this opportunity by drawing inspiration from a number of already established narratives, Grimes as an author found himself singularly “off the road” and essentially alone in new literary territory, uncannily reflecting his sense of alienation and helplessness in the North after escaping from slavery aboard a cargo ship in 1815.

Como contar o horror? Como se constrói uma memória do horror a partir da ficção? Neste trabalho avançamos para a tradução e análise de quatro contos da literatura latino-americana: O meu irmão atravessa a praça, do chileno Luis Alberto Tamayo; Confissões de um fugitivo, do boliviano Victor Montoya; A longa risada de todos esses anos, do argentino Rodolfo Fogwill e Curriculum Vitae, da paraguaia Lita Pérez Cáceres. Examina-se, a partir desses relatos, a maneira como as diferentes narrativas representam a noção de testemunho a fim de registrar os horrores das ditaduras militares no Cone Sul e como acontece a construção das suas memórias históricas. Nesse contexto, quais são os desafios do tradutor na fidelidade a essas memórias? Em um primeiro momento, propomos uma reflexão sobre a construção da memória na literatura, seguida de uma breve apresentação de um panorama dessas memórias históricas nos registros literários da América Latina. Nesse sentido, também buscamos correlacionar o conceito da Literatura de Testimonio com as narrativas dos traumas na história mundial. Seguidamente, levantamos as reflexões sobre os desafios do tradutor enquanto reconstrutor de características tão peculiares desses textos, nomeadamente na reconstrução dessas memórias históricas encontradas na literatura. Na sequência, utilizamos as traduções dos quatro contos selecionados, que nunca foram traduzidos para o português brasileiro, para fazer algumas análises dos problemas de tradução encontrados, das diferentes estratégias adotadas e uma breve revisão da literatura existente. Avançamos, ainda, para a exemplificação e comentários de algumas diferenças gramaticais e lexicais entre o espanhol e o português brasileiro, que representam uma parcela importante entre os problemas de tradução encontrados, nomeadamente os aspectos lexicais, as questões sintáticas e uma série de questões relativas aos aspectos de coesão textual.
How to tell the horror? How to build a horror memory from fiction? In this project we make the translation and analysis of four tales of Latin American literature. My brother crosses the square, by Chilean Luis Alberto Tamayo; Confessions of a fugitive, by Bolivian Victor Montoya; The long laugh of all those years, by Argentine Rodolfo Fogwill and Curriculum Vitae, by Paraguayan Lita Pérez Cáceres. From these reports, we examine the way in which the different narratives represent the notion of testimony in order to record the horrors of military dictatorships in the Southern Cone and how the construction of their historical memories happens. In this context, what are the translator's challenges in fidelity to these memories? At first, we propose a reflection on the construction of memory in literature, followed by a brief presentation of an overview of these historical memories in the literary records of Latin America. In this sense, we also seek to correlate the concept of Literatura de Testimonio with the narratives of trauma in world history. Then, we raise the reflections on the challenges of the translator as a reconstructor of such peculiar characteristics of these texts, namely in the reconstruction of these historical memories found in the literature. Then, we used the translations of the four tales selected, which were never translated into Brazilian Portuguese, to do some analysis of the problems found in the transalation, the different strategies adopted and a brief review of the existing literature. We also move on to exemplify and comment on some grammatical and lexical differences between Spanish and Brazilian Portuguese, which represent an important part of the translation problems found, as lexical aspects, syntactic issues and a series of questions related to aspects of textual cohesion.