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Tradução Comentada De the World's Wife, De Carol Ann

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Tradução Comentada De the World's Wife, De Carol Ann Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Dissertação submetido(a) ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Estudos da Tradução. Orientador: Prof. Dr. Sergio Luiz Rodrigues Medeiros Florianópolis 2018 Ficha de identificação da obra elaborada pelo autor através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Bernardo Antônio Beledeli Perin AS VOZES DA ESPOSA DO MUNDO: TRADUÇÃO COMENTADA DE THE WORLD’S WIFE, DE CAROL ANN DUFFY Esta Dissertação foi julgada adequada para obtenção do Título de “Mestre” e aprovada em sua forma final pelo Programa de Pós- Graduação em Estudos da Tradução Florianópolis, 10 de agosto de 2018. ________________________ Prof.ª Dr.ª Dirce Waltrick do Amarante Coordenador do Curso Banca Examinadora: ________________________ Prof. Dr. Sérgio Luiz Rodrigues Medeiros Orientador Universidade Federal de Santa Catarina ________________________ Prof. Dr. André Cechinel Universidade do Extremo Sul Catarinense ________________________ Profª. Drª. Clélia Maria Lima de Mello e Campigotto Universidade Federal de Santa Catarina ________________________ Prof. Dr. Gilles Jean Abes Universidade Federal de Santa Catarina Para minha mãe Itamara – minha Deméter particular AGRADECIMENTOS Dizem que a poesia é palavra do solitário. E é solitário escrever uma dissertação, mas sempre se encontra alguma companhia. Para agradecer a quem esteve do meu lado durante essa caminhada, deixo aqui alguns versos de Carol Ann Duffy herself: À minha mãe Itamara, meu referencial primeiro e maior de mulher: pelo amor, por manter-se perto mesmo quando estamos longe, por todo o esforço sem o qual eu não seria possível como pessoa e tampouco minha formação. Shadows / blurred into one huge darkness, / but the stars were her mother’s eyes. (“The Cord”, 2002) Aos professores e professoras com quem me encontrei nesta trajetória, por tudo aquilo que me ensinaram. À banca da qualificação e da defesa – professoras Maria Lúcia Milléo Martins e Clélia Maria Lima de Mello e Campigotto, professores André Cechinel e Gilles Jean Abes – , por aceitarem o convite e pelas sugestões valiosas ao trabalho; à professora Luci Collin, por ter acreditado na minha possibilidade enquanto tradutor de poesia durante à graduação; ao professor Sérgio Medeiros, meu orientador, pela oportunidade de desenvolver esta pesquisa e paciência com seus percalços; à Rosângela, minha primeira professora de inglês, que me incutiu o amor pela língua inglesa. I squash a fly against the window with my thumb. / We did that at school. Shakespeare. It was in / another language and now the fly is in another language. (“Education for leisure”, 1985) A todas as minhas amigas e todos os meus amigos por serem companheiros incríveis nessa viagem que é a vida, na figura das minhas bruxas PGETianas – Fran, Sheila, Jaque e Bea – que ajudaram a transformar a experiência da pós e da cidade nova em algo mais leve; da Monique, pelo empréstimo constante dos ouvidos; da Alessandra, pela onipresença; e da Livia, responsável por causar meu encontro com a obra da Duffy. If you think of the dark / as a black park / and the moon as a bounced ball, / then there’s nothing to be frightened of / at all. / (Except for aliens…) (“The Dark”, 2009) À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior pela bolsa concedida durante o período do Mestrado. Ao lobo que encontrei quando cheguei ao fundo da floresta – out of the forest I come with my flowers, singing, all alone. (“Little Red-Cap”, 1999) “Now she was loud. Before, she'd been easily led, one of the crowd, joined in with the national wshoop for the winning goal, the boos for the bent MP, the cheer for the royal kiss on the balcony. Not any more. Now she could roar.” — Carol Ann Duffy, Loud “Last year I abstained this year I devour without guilt which is also an art.” — Margaret Atwood, Circe/Mud Poems RESUMO O objetivo deste trabalho é propor uma tradução comentada do volume de poesia The World’s Wife, publicado em 1999 pela escritora britânica Carol Ann Duffy, ambas inéditas em português e virtualmente desconhecidas pelo público brasileiro. Nos trinta poemas que integram o livro, Duffy propõe novas interpretações para narrativas históricas, ficcionais e mitológicas ao reescrevê-las a partir dos pontos de vista de mulheres que delas foram tradicionalmente apagadas. Esta dissertação divide-se em três capítulos. No primeiro capítulo, apresenta-se Carol Ann Duffy e sua biobibliografia; discute-se sua contribuição para a poesia de língua inglesa contemporânea e as características definidoras de sua voz poética; contextualiza-se a obra escolhida como corpus, então analisada à luz do conceito de revisionist mythmaking (OSTRIKER, 1982), a reescrita de narrativas prévias, da ordem da mitologia ou da fábula, que excluem a figura e a perspectiva de mulheres por uma escritora de modo que passe a incluí-las e representá-las. O segundo capítulo trata dos referenciais, teóricos e práticos, acerca da poesia e da tradução que norteiam o projeto tradutório desenvolvido, tomando-se como argumento basilar a ideia de que a tradução poética é um modo de escrever poesia (BRITTO, 2016) e enfatizando-se o papel do tradutor durante o processo. No terceiro capítulo, apresenta-se os comentários da tradução, intitulada A Esposa do Mundo, apontando-se aproximações e distanciamentos entre texto-fonte e texto traduzido e entre texto-fonte e as narrativas mobilizadas pela escritora. Palavras-chave: Carol Ann Duffy. The World’s Wife. Tradução de poesia. Tradução comentada. ABSTRACT This dissertation aims to present a commented translation of the 1999 poetry collection The World’s Wife, by British writer Carol Ann Duffy, both unpublished in Portuguese and virtually unknown to the Brazilian public. In the thirty poems that comprise the book, Duffy proposes new interpretations to historical, fictional, and mythological narratives by rewriting them from the viewpoints of the women who have traditionally been erased from them. This dissertation is divided in three chapters. The first chapter introduces Carol Ann Duffy and her bio-bibliography; discusses her contributions to contemporary English-language poetry and the characteristics that define her poetic diction; contextualizes the book chosen as corpus, then analysed in light of the concept of revisionist mythmaking (OSTRIKER, 1982) – the rewriting of previous narratives, hailing from myth and fables, that exclude the figure and perspective of women by a female writer so that they are now included and represented. Chapter two deals with theoretical and practical frameworks regarding poetry and translation, taking the idea of poetic translation as a means of writing poetry (BRITTO, 2016) as its main argument, and emphasizing the role played by the translator during this process. The third chapter presents the translation commentary and points of convergence and divergence between the source-texts and the translated texts, and between the source-texts and the narratives mobilized by the writer as well. Keywords: Carol Ann Duffy. The World’s Wife. Poetic translation. Commented translation. LISTA DE FIGURAS Figura 1: Carol Ann Duffy ......................................................... 27 Figura 2: Capa de The World's Wife (Faber & Faber, 1999) ...... 38 Figura 3: Capa de The World's Wife (Picador Classic, 2000) ..... 38 Figura 4: Capa de The World's Wife (Picador, 1999) ................. 39 Figura 5: Capa de The World's Wife (Picador, 2017) ................. 39 SUMÁRIO 1. INTRODUÇÃO ............................................................................... 21 2. CAROL ANN DUFFY E THE WORLD’S WIFE ......................... 27 2.1. “THEN, DEEPER, GAZE INTO MY EYES”: BIOBIBLIOGRAFIA DA AUTORA ....................................................................................... 27 2.2. “WORDS WERE TRULY ALIVE ON THE TONGUE”: A POÉTICA DE CAROL ANN DUFFY ................................................. 29 2.3. “LADIES, FOR ARGUMENT’S SAKE...”: A ALGARAVIA DA ESPOSA DO MUNDO ......................................................................... 37 3. POESIA E TRADUÇÃO ................................................................ 53 3.1. “CHOOSING TOUGH WORDS, GRANITE, FLINT”: A TRADUÇÃO POÉTICA ....................................................................... 53 3.2. “(I’D DONE ALL THE TYPING MYSELF, I SHOULD KNOW)”: METODOLOGIA ................................................................................. 64 4. A ESPOSA DO MUNDO ................................................................ 69 4.1. CHAPEUZINHO VERMELHO .................................................... 69 4.2. TÉTIS ............................................................................................. 70 4.3. RAINHA HERODES ..................................................................... 71 4.4. SRA MIDAS .................................................................................. 73 4.5. de SRA TIRÉSIAS ......................................................................... 74 4.6. A ESPOSA DE PILATOS ............................................................. 76 4.7. SRA ESOPO .................................................................................. 77 4.8. SRA DARWIN ............................................................................... 78 4.9. SRA SÍSIFO ..................................................................................
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