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A tradução de terror infantojuvenil : o caso de Jimbo: a Fantasy
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O presente trabalho de projeto tem como objetivo discutir a tradução para português europeu de capítulos selecionados da obra Jimbo: A Fantasy (1909/2010), de Algernon Blackwood, focando-se nas questões que surgem ao traduzir uma obra de literatura infantojuvenil de terror. Para o efeito, analisa-se de que modo as características da literatura infantojuvenil e da literatura de terror se articulam na formação deste subgénero, como o mesmo se desenvolveu ao longo do tempo e de que forma tem sido recebido. Este percurso conduz à sua caracterização como um género definido tanto pelos leitores que mobiliza como pelos efeitos que procura produzir, em particular dada a sua capacidade de suscitar reações específicas, próprias do terror, em determinado público-alvo da literatura infantojuvenil. Posteriormente, discorre-se sobre aspetos-chave e questões de tradução de literatura infantojuvenil, como o som, os dialetos e linguagem não padrão, os nomes próprios e a mediação cultural, e sobre teorias relevantes para a tradução de um género cujo público-alvo é um dos aspetos centrais (teorias funcionalistas) e que tem a intenção de causar uma reação emocional forte no leitor (estilística da tradução). Por fim, realiza-se o comentário à tradução, tendo em conta o contexto em que a obra foi publicada, a análise tradutória realizada com base no modelo de Christiane Nord (2005) e na estilística para tradução de Boase-Beier (2020). Através do comentário e dos exemplos apresentados conclui-se com uma reflexão sobre a importância de analisar, no geral, o género literário e a obra a traduzir para que se identifiquem as estratégias mais adequadas para a sua tradução e sobre a relevância, em particular, de uma tradução com um equilíbrio entre o instrumental e o documental para um género como o terror infantojuvenil.
The goal of this project is to discuss the translation into European Portuguese of selected chapters of the text Jimbo: A Fantasy (1909/2010), by Algernon Blackwood, focusing on the issues that arise when translating a work of horror literature for children and teenagers. For that purpose, I analyse how the characteristics of children and teenager’s literature and those of horror literature come together to create this subgenre, how it has developed over time and how it has been received. This research led to its characterisation as a genre defined both by the readers that mobilizes and by the effects it seeks to produce, in particular for its ability to elicit specific reactions, typical of the horror genre, in a certain audience of children and teenager’s literature. Subsequently, I discuss key aspects and issues in the translation of children and teenager’s literature, such as sound, dialects and non-standard language, proper names and cultural mediation, and theories relevant to the translation of a genre whose target audience is one of its central aspects (functionalist theories) and which is written with the intention of causing a strong emotional reaction in the reader (stylistics of translation). Finally, I comment on the translation, considering the context in which the book was published, Christiane Nord’s model for translation analysis (2005) as well as Boase-Beier’s stylistics for translation (2020). Through the commentary and examples presented, I conclude with a reflection about the importance of analysing, in general, the literary genre and the work to be translated in order to identify the most suitable strategies for its translation and, in particular, on the relevance of a translation that balances the instrumental and the documentary for a genre such as horror for children and teenagers.
The goal of this project is to discuss the translation into European Portuguese of selected chapters of the text Jimbo: A Fantasy (1909/2010), by Algernon Blackwood, focusing on the issues that arise when translating a work of horror literature for children and teenagers. For that purpose, I analyse how the characteristics of children and teenager’s literature and those of horror literature come together to create this subgenre, how it has developed over time and how it has been received. This research led to its characterisation as a genre defined both by the readers that mobilizes and by the effects it seeks to produce, in particular for its ability to elicit specific reactions, typical of the horror genre, in a certain audience of children and teenager’s literature. Subsequently, I discuss key aspects and issues in the translation of children and teenager’s literature, such as sound, dialects and non-standard language, proper names and cultural mediation, and theories relevant to the translation of a genre whose target audience is one of its central aspects (functionalist theories) and which is written with the intention of causing a strong emotional reaction in the reader (stylistics of translation). Finally, I comment on the translation, considering the context in which the book was published, Christiane Nord’s model for translation analysis (2005) as well as Boase-Beier’s stylistics for translation (2020). Through the commentary and examples presented, I conclude with a reflection about the importance of analysing, in general, the literary genre and the work to be translated in order to identify the most suitable strategies for its translation and, in particular, on the relevance of a translation that balances the instrumental and the documentary for a genre such as horror for children and teenagers.
Descrição
Mestrado em Tradução.