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Victor Hugo, Tradutor Interartístico

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UNIVERSIDADE DE BRASÍLIA INSTITUTO DE LETRAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURAS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA E PRÁTICAS SOCIAIS VICTOR HUGO, UM TRADUTOR INTERARTÍSTICO NO SÉCULO XIX DENNYS DA SILVA REIS Brasília/DF 2019 2 UNIVERSIDADE DE BRASÍLIA INSTITUTO DE LETRAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURAS PROGRAMA DE PÓS-GRADUAÇÃO EM LITERATURA E PRÁTICAS SOCIAIS DENNYS DA SILVA REIS VICTOR HUGO, UM TRADUTOR INTERARTÍSTICO NO SÉCULO XIX Tese de doutorado ApresentAda à BancA Examinadora do ProgramA de Pós-Graduação em Literatura e PráticAs SociAis do DepartAmento de TeoriA LiteráriA e Literaturas da Universidade de BrasíliA como parte dos requisitos para obtenção do título de Doutor em Literatura, desenvolvida sob A orientAção do Prof. Dr. Sidney BarbosA. Brasília/DF 2019 3 BANCA EXAMINADORA Prof. Dr. Sidney BarbosA (OrientAdor) – PósLit/TEL/UnB – Presidente Profa. Dra. MiriAm de PAiva Vieira UFSJ – Membro externo Prof. DrA. LuísA Günther RosA IDA/UnB – Membro externo Prof. Dr. Nelson Fernando Inocêncio da Silva IDA/UnB – Membro externo Profa. Dra. MAriA da GlóriA MAgalhães dos Reis PósLit/TEL/UnB – Suplente 4 Ficha catalográfica 5 A todos os ditos incApazes e tolos, Aos colegas professores de francês, à universidade públicA no Brasil, Aos hugoanos como eu. 6 AGRADECIMENTOS Muito pessoais & à hugoana GostAriA de primeiramente Agradecer Ao professor Sidney BarbosA por AceitAr me orientAr no trajeto deste doutorado. Sou muito Agradecido pelA paciênciA, AmizAde e humAnidade em todos os momentos que vivenciAmos nestes quatro Anos de Les Rayons et les ombres. Agradeço à Capes pelA bolsA que recebi durante os quatro Anos de meu doutorado. Sem estA bolsA seriA impossível A escritA da presente tese. Les Feuilles d’automne Aqui dispostAs são Apenas A superfície de como este Auxílio financeiro foi importAnte parA minha ida A congressos, Aquisição de bibliografiA e visitAs aos museus hugoanos. Ao POSLIT, minha reverênciA e meu respeito Aos professores, coordenadores, secretários e colegas discentes com quem aprendi muito durante Les Chants du crépuscule. Agradeço Aos professores John Milton e LuísA Günther por terem participado de minha qualificAção e dado contribuições significAtivas para essAs pequenas Proses philosophiques presentes na tese. Muito obrigado à professora GlóriA MAgalhães – que tAmbém esteve nA minha bancA de Aprovação do doutorado –, à professora MiriAm Vieira – com quem troquei mensAgens e telefonemAs com minhas dúvidas – e Ao professor Nelson Inocêncio por AceitArem fazer parte da bancA. Espero que As Odes et Ballades destA tese lhes permitAm lAnçAr um novo olhar sobre Victor Hugo. Sou devedor Ao Groupe Hugo da Université de PAris-Diderot pelA mAnutenção de seu site com textos importAntes para estA tese. TAmbém à BibliotecA NAcional da FrançA (BnF) que mAntém o site Gallica, importAnte instrumento de trabalho para mim durante os Anos de pesquisA. Meu reconhecimento tAmbém se dirige à Université de Rennes II por mAnter e disponibilizAr gratuitAmente um site de divulgação populAr sobre A obra de Hugo – lugar onde pude desfrutAr de entrevistAs, textos e imAgens presentes na tese. ContAr com o mAteriAl destAs três entidades disponibilizAdos gratuitAmente na internet me fez de fato um Han d’Islande. 7 UmA parte significAtiva da bilbiografiA presente nestA tese contou com umA extensA rede de Amigos, Além-mAr, Além das fronteiras geográficAs de BrasíliA e do Brasil. Eis Les Travailleurs de la mer. Gratidão A Roch Duval que procurou, escAneou e me enviou inúmero textos diretAmente do Canadá durante quatro anos. Muito obrigado A JAmes Cisneros (Universidade de MontreAl), Roberto Mulinacci (Universidade de Bolonha), Thorkil DAmsgaArd (Universidade de Copenhague), Delphine Gleizes (Universidade de Lyon), Fernanda ConciAne (Universidade de MontreAl) e MArcelo Moreira (Universidade de São PAulo). O tempo de vocês para me enviArem textos que contribuíram significAtivamente com estA tese trazem para mim Les Quatre vents de l’esprit. AlAin Baille, meu grande Amigo de Grenoble. Pelo tráfico de livros reAlizAdos durante esses quatro Anos da FrançA para o Brasil, não tenho nem palAvras para descrever sua generosidade. Entre Les Châtiments e Les Contemplations que todos esses livros me cAusAram, só tenho imensA gratidão. A MArcos Bagno, Mille francs de récompense é pouco para te Agradecer e demonstrar todo meu Amor, Afeto e quanto você foi e é importAnte para mim em toda essA trajetóriA. Meu Ruy Blas, te Admiro cAda vez mAis! Esse eterno Théâtre en liberté que é minha vida não seriA o mesmo sem você. Aos meus pais: sAibam que sempre vocês estiveram comigo, mesmo nas minhas AusênciAs. Se existem de fato Les Choses de l’infini, entre elAs estão vocês. Muito obrigado por tudo, e por todo Amor. A minha irmã, que meu deu sobrinhos lindos, obrigado por todo Amor, todas as orações e todos os doces: Mangeront-ils? Ao grupo LiterArtes da UnB, Les Burgraves, ApesAr de nossAs diferençAs, Aprendi demAis com vocês: JuliAna MAntovani (Marie Tudor), BeAtriz Braz (Lucrèce Borgia), Ana PAulA CâmAra (Marion Delorme), BeAtriz Campos (Irtamène), RosAna Campos (Inez de Castro), AlessAndra Querido (La Grand’Mère), Sidnei CostA (Bug-Jargal), MAriA Aline CorreA (Cosette) e WAndick CostA (Han d’Islande). Durante quatro Anos, fiz Amigos diversos que me Acolheram ou me Acompanharam em congressos e em parceriAs diversAs no Brasil e no exterior. Tenho muitA estimA por vocês, queridos e queridas: John Milton (USP), LuciAna Carvalho (USP), Edgar RosA (USP), LAuro Amorim (UNESP), LiliAm Ramos (UFRGS), DAniele NolAsco (UFAC), ViviAne Veras (UNICAMP), FAbíolA Reis (UNIFAP), MArcelo Moreira (USP), RosAlina ChiAncA (UFPB), KArina ChiAncA (UFPB), Cibele Araújo (IFG), LuciAna MesquitA (CEFETRJ), DAniel CostA (UFU), MAnoel CorrêA (USP), AdéliA MAthiAs (Universidade de MAnnheim), CarlA GuimArães 8 (UnB), GraciAne Celestino (UnB), MislAiny Andrade (UFG), Ezilda MAciel (UFAC), Hervé SAnson (Sorbonne Nouvelle – PAris 3), Ana LúciA Silva SouzA (UFBA). Juntos fazemos umA belA Histoire d’un crime. Muito obrigado por serem Les Djinns. Em tempos de Religions et Religion, Assim como Victor Hugo, Acredito em Dieu. Há com certezA umA forçA divina que me impulsiona Ao Océan-vers da vida. A escritA e A defesA destA tese é um Ato pessoal de superação, esforço e perseverançA. De quem escutou Aos 18 Anos de idade “Você será um bobo para o resto de sua vida”, devido A um problemA de perda de memóriA por dois diAs Aos 17 Anos e A forte medicAção que tomAva desde então para recuperar A memóriA, bem como todos os movimentos sinestésicos. Hoje, por meio destA tese e destA defesA, me sinto impulsionado A continuar no mundo do conhecimento e da pesquisA, bem como sinto que é umA formA de dizer que é possível sim enfrentAr qualquer Légende des Siècles falsA e declArar La Fin de Satan – Aquilo que não nos impulsiona a acreditAr em nós mesmos. 2019 tem sido L’Année terrible porque L’Âne governa nosso país. EntretAnto, cAbe a nós decidirmos ser Les Chants du crépuscule ou Les Chansons des rues et des bois. Ainda não é Le dernier jour d’un condamné. E nós, da educAção, não somos Les misérables. Não seremos a Dernière Gerbe! A quelque chose hasard est bon quAndo um doutor se formA para nossA sociedade. Muito obrigado, Universidade de BrasíliA! 9 Os teimosos são os sublimes. Quem é apenas bravo tem só um assomo, quem é apenas valente tem só um temperamento, quem é apenas corajoso tem só uma virtude; o obstinado na verdade tem a grandeza. Quase todo o segredo dos grandes corações está nesta palavra: perseverando. A perseverança está para a coragem como a roda para a alavanca; é a renovação perpétua do ponto de apoio. Esteja na terra ou no céu o alvo da vontade, a questão é ir a esse alvo [...]. Não deixar discutir a consciência, nem desarmar a vontade, é assim que se obtém o sofrimento e o triunfo. Na ordem dos fatos morais o cair não exclui o pairar. Da queda sai a ascensão. Os medíocres deixam- se perder pelo obstáculo especioso; não assim os fortes. Parecer é o talvez dos fortes, conquistar é a certeza deles. (HUGO, 2013, 461-462) Tradução de Machado de Assis 10 RESUMO A presente tese expõe como hipótese de trabalho A de que Victor Hugo (1802-1885) é um tradutor e Autotradutor interartístico. PAra comprovar tAl Assertiva, elAbora-se umA metodologiA de Análise para verificAr como o Autor pode traduzir umA Arte em outra. ElencAm-se As técnicAs de tradução usAdas por ele, A sAber: descrição, intermidiAlidade, cromAciA e Arquétipos Artísticos. A partir destA metodologiA, segue-se para dois estudos de cAso: (1) A tradução da Arquitetura em Literatura, notAdamente com o cotejo entre A cAtedral de PAris e seu romAnce homônimo (Notre-Dame de Paris, 1832); e (2) A tradução da Literatura em Pintura, designadamente no confronto entre o romAnce Les Travailleurs de la mer (1866) e o conjunto de trintA e seis pinturas que dele "derivam". Após mostrar e AnalisAr como A tradução interartísticA Acontece nesses dois cAsos, estA tese conclui-se AfirmAndo que existem razões estético-literáriAs, estético-políticAs, estético-AntropológicAs e estético-poéticAs do porquê o Autor reAlizAr A tradução interartísticA e do porquê ser clAssificAdo como um tradutor interartístico. PAra Além da hipótese defendidA, A presente tese empenha-se igualmente em mostrar A relAção de Victor Hugo com As outras Artes e como estes Aspectos são fontes Ainda pouco exploradas nos estudos sobre o Autor no Brasil. AlmejA-se que o presente estudo sirva de inventário sobre Hugo ArtistA, mAs tAmbém como ponto de Aprofundamento para As noções de (auto)tradução e de (auto)tradutor interartísticos no cAmpo teórico dos Estudos Literários e dos Estudos de Tradução. Palavras-chave: Victor Hugo; Autotradução interartísticA; cromAciA; descrição, Arquétipos Artísticos; intermidiAlidade. 11 RÉSUMÉ Cette thèse Avance l’hypothèse que Victor Hugo (1802-1885) est un traducteur et Autotraducteur interartistique. Afin de lA corroborer, nous Avons élAboré une méthodologie d’analyse cherchant à démontrer comment l’auteur peut traduire d’un Art vers un Autre.
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    Mamoli Zorzi and Manthorne (eds.) FROM DARKNESS TO LIGHT WRITERS IN MUSEUMS 1798-1898 Edited by Rosella Mamoli Zorzi and Katherine Manthorne From Darkness to Light explores from a variety of angles the subject of museum ligh� ng in exhibi� on spaces in America, Japan, and Western Europe throughout the nineteenth and twen� eth centuries. Wri� en by an array of interna� onal experts, these collected essays gather perspec� ves from a diverse range of cultural sensibili� es. From sensi� ve discussions of Tintore� o’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum ligh� ng as part of Japanese ar� s� c self-fashioning, via the story of an epic American pain� ng on tour, museum illumina� on in the work of Henry James, and ligh� ng altera� ons at Chatsworth, this book is a treasure trove of illumina� ng contribu� ons. FROM DARKNESS TO LIGHT FROM DARKNESS TO LIGHT The collec� on is at once a refreshing insight for the enthusias� c museum-goer, who is brought to an awareness of the exhibit in its immediate environment, and a wide-ranging scholarly compendium for the professional who seeks to WRITERS IN MUSEUMS 1798-1898 proceed in their academic or curatorial work with a more enlightened sense of the lighted space. As with all Open Book publica� ons, this en� re book is available to read for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image:
  • Louise Bertin Une Compositrice Sous Louis-Philippe

    Louise Bertin Une Compositrice Sous Louis-Philippe

    Les colloques de l’Opéra Comique Les compositrices au siècle de Pauline Viardot. Avril 2013 Sous la direction de Florence LAUNAY Louise Bertin Une compositrice sous Louis-Philippe Matéo CRÉMADES En octobre 1835, dans une lettre adressée à Adèle Hugo, Louise Bertin décrit la réaction de ses parents suite à la lecture du trente-huitième poème des Chants du crépuscule qu’Hugo venait de lui dédier1 : « Papa et maman sont dans le ravissement des vers de M. Hugo. Ils se figurent les savants, cherchant dans deux mille ans d’ici, quelle peut être cette Louise qui a mérité d’aussi beaux vers d’un si grand poète2. » Heureusement, il s’est écoulé seulement cent cinquante ans et non deux mille ans comme l’ont imaginé les parents de Louise Bertin avant qu’Arnaud Laster, puis Denise Boneau n’aient commencé à faire sortir de l’oubli cette compositrice, auteur de quatre opéras, cinq symphonies et deux recueils de poésies. Cette communication aura pour but de réaliser les présages cités par Louise Bertin en me mettant à la place de ces « savants » du XXXIXe siècle afin de répondre à la question posée par les parents de la compositrice : « quelle peut être cette Louise, qui a mérité d’aussi beaux vers d’un si grand poète » ? Louise Bertin est l’une des rares compositrices à avoir réussi à faire jouer une de ses œuvres sur la scène de l’Académie royale de musique. À la fin de l’année 1836, les représentations de La Esméralda, son quatrième opéra écrit en collaboration avec Victor Hugo, marque non seulement l’apogée de sa carrière, mais également sa chute.