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UNIVERSIDADE FEDERAL DE JUIZ DE FORA PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LITERÁRIOS CAROLINA ALVES MAGALDI PARATEXTOS DAS TRADUÇÕES BRASILEIRAS DA KALEVALA E DO POPOL VUH AO LONGO DO ESPAÇO E DO TEMPO JUIZ DE FORA 2013 CAROLINA ALVES MAGALDI PARATEXTOS DAS TRADUÇÕES BRASILEIRAS DA KALEVALA E DO POPOL VUH AO LONGO DO ESPAÇO E DO TEMPO Tese apresentada como requisito parcial à conclusão do Doutorado em Estudos Literários, da Faculdade de Letras, Universidade Federal de Juiz de Fora. Orientadora: Silvina Liliana Carrizo JUIZ DE FORA 2013 1 TERMO DE APROVAÇÃO CAROLINA ALVES MAGALDI PARATEXTOS DAS TRADUÇÕES BRASILEIRAS DA KALEVALA E DO POPOL VUH AO LONGO DO ESPAÇO E DO TEMPO Tese apresentada à Banca Examinadora designada pelo Programa de Pós-Graduação em Estudos Literários da Universidade Federal de Juiz de Fora, aprovada em __/__/__. ___________________________________ Silvina Liliana Carrizo - Orientadora ____________________________________ Georg Otte - Membro Externo ____________________________________ Marília Rothier - Membro Externo ___________________________________ Rogério de Sousa Sérgio Ferreira - Membro Interno ____________________________ Maria Clara Castellões - Membro Interno Juiz de Fora, março de 2013 2 Dedico este trabalho à minha grande, dedicada, barulhenta e alegre família, que sempre será minha primeira e mais fundamental professora. 3 AGRADECIMENTOS Gostaria de agradecer à minha família, principalmente meus pais, Heitor e Lúcia, minha irmã Juliana, meu cunhado Anderson e minhas primas-irmãs, Rafaella e Isabella por serem a motivação e a inspiração para tudo o que escrevo. Aos pequenos que colorem a vida: minha sobrinha-afilhada Jajá, fofura em pessoa; Sofia, já quase moça; Inácio, pequeno príncipe; Marina, rainha das águas; Malu e Ágatha, afilhadas extra-oficiais. À minha avó Arlete, de quem sou confidant desde criança, por ter me ensinado a narrar. A meus padrinhos Serjão, Titina, Fred, Maria e Quinha, por todo apoio e carinho. A todos meus professores e a todos os alunos que já tive ou ainda terei, por colocarem tudo em perspectiva. Ao meu primeiro mentor, Henrique Hargreaves, que me inspirou a pesquisar, e à sua caçula, Ana Carolina, por terem inspirado minha infância. Às companheiras de batalha Thaís, Angélica, Carla e Clarice, pela amizade mais que especial. À minha psicóloga Denise Chaves, de escuta primorosa e que sempre compreende minhas piadas. A todos os colegas, professores e funcionários do CAEd por terem redefinido minhas noções de pesquisa acadêmica e trabalho em equipe, em especial às Golden Girls, Carla, Rafaela, Debora, Sheila e Ana Paula e ao Prof. Marcos Tanure Sanábio, cujas orientações são meu sonho de consumo. À minha orientadora Silvina Carrizo, por ter compreendido e apostado em meu projeto de tese. Sem sua escuta, orientação e motivação essa tese não teria sido escrita. Ao Professor Titus Hjelm, o primeiro a ler este projeto de tese, por suas contribuições acadêmicas e culturais acerca da Finlândia, único país do mundo em que um baixista de heavy metal e um renomado professor de antropologia podem ser a mesma pessoa. Às professoras Maria Clara Castellões e Marília Rothier por sua participação valiosa na banca de qualificação e pela disponibilização de livros fundamentais para minha pesquisa. Ao meu orientador de mestrado Prof. Rogério Ferreira e ao Prof. Georg Otte por acreditarem no trabalho que originou esta tese. Aos professores Jovita Gerheim, Fernando Fiorese, Maria Luiza Scher, Terezinha Scher e Ana Beatriz Gonçalves por terem contribuído sobremaneira para a escrita deste texto, seja em momentos-chave ou em encontros pela cantina. 4 Aos colegas Altamir, Édimo, Ângela e Cristina, que, entre atribulações e jornadas internas, fizeram parte destes quatro anos de leitura e escrita. Ao Programa de Pós-Graduação em Estudos Literários da UFJF pela estrutura e a orientação necessárias para a escrita desta tese. À Capes pelo apoio no processo de criação acadêmica. Ao Grupo Coimbra pela bolsa de pesquisa que possibilitou minha permanência na Universidade de Turku. À Professora Liisa Aho pelo empenho em encontrar uma bolsa compatível com meus estudos na Finlândia, a meu orientador finlandês Professor Pekka Hakamies, atual diretor da Sociedade Kalevala, às tutoras Katariina Keskitalo, Ramona Pulli, Kristiina Kortelainen e Mari Haapaniemi por seu empenho em prover acesso aos arquivos das bibliotecas e universidades finlandesas, bem como às questões mais cotidianas (e mais desafiantes) na cidade de Turku. Aos amigos que fiz em Turku, em especial Sumit Tada, Marco Lincona, Mika Hisatsune, Gabriela Austeda, Manju Kasu, Cheryl Johnson e Benjamin Alldritt, de longe o grupo mais multiétnico e intenso do qual já fiz parte. A todos que se derem ao trabalho de ler este texto. 5 Nós precisamos descobrir como traduzir o capital cultural de outras civilizações de uma forma que preserve pelo menos parte de sua própria natureza, sem produzir traduções que tem o fator de entretenimento tão baixo que tenham apelo somente para aqueles que leem por razões profissionais. André Lefevere e Susan Bassnett em Constructing Cultures 6 RESUMO A Kalevala finlandesa e o Popol Vuh guatemalteco têm inúmeras e surpreendentes similaridades, bem como uma quantia equiparável de diferenças marcantes. Algumas questões, entretanto, ressaem sobre as outras: suas origens orais, transpostas para o universo escrito em momentos de crise; suas numerosas retraduções e os extensos prefácios, posfácios e introduções escritos por teóricos-tradutores especialistas nas obras, contendo informações sobre o texto-fonte e seu contexto, a respeito do processo de tradução, além de dados sobre os povos e territórios nos quais as narrativas se originaram. Tais paratextos se constituem como ―zonas de transação‖ (GENETTE, 2009), nos quais as negociações de sentido entre tradutores anteriores, versões atuais, editoras e universidades se tornam visíveis em meio ao fazer tradutório, movimentando as obras em seus polissistemas literários e culturais. O ingresso brasileiro neste processo é recente, com a tradução de Sérgio Medeiros para o Popol Vuh (Iluminuras, 2007) e de José Bizerril e Álvaro Faleiros para a Kalevala (Ateliê Editorial, 2009). Nessas edições brasileiras, os temas mais recorrentes nas versões internacionais também se fazem presentes, com destaque para a história e a tradução, saberes esses voltados ao passado, os quais contribuem sobremaneira para a construção do imaginário espacial. Detalhamos, portanto, as obras e seus paratextos para que possamos nos dedicar ao estudo da história e da tradução a partir dos eixos temporal e espacial, optando, sempre que possível, por contemplar teóricos que discorressem sobre ambos os saberes, em especial Walter Benjamin, Paul Ricoeur e Itamar Even-Zohar. Concluímos que a literatura e tradução são polissistemas, ou seja, conjuntos relacionais e hierárquicos em eterna construção de conexões, desenvolvidas e renovadas ao longo do tempo. Os paratextos, tão ―híbridos‖ quanto os textos que vêm a apresentar, são parte integrante das grandes negociações interculturais, políticas e literárias operadas pela tradução. Por esse motivo propomos a noção de prisma, de forma a oferecer uma possibilidade de interpretação que demonstrasse os discursos que atravessam a Kalevala e o Popol Vuh, e de que forma as obras se configuram tanto como bens simbólicos quanto como produtoras de sentido. Palavras-chave: tradução; história; paratexto; espaço; tempo. 7 ABSTRACT The Finnish Kalevala and the Guatemalan Popol Vuh have countless and surprising similarities, as well as a somewhat equal amount of remarkable differences. Some matters, however, must be highlighted: their oral origins, transfigured into a written world in moments of crisis; their numerous retranslations and the extensive prefaces, postfaces and introductions written by theorist-translators specialized on the books, containing information about the source-text and its context, the process of translation, besides data regarding the peoples and territories where the narratives originated. Such paratexts constitute ―zones of transaction‖ (GENETTE, 2009), in which negotiations of meaning between past translators, present versions, publishing houses and universities become visible amid the translating activity, moving the works in their literary and cultural polysystems. The Brazilian point on entry in this process is recent, with the translation of the Popol Vuh by Sérgio Medeiros (Iluminuras, 2007) e of the Kalevala by José Bizerril and Álvaro Faleiros (Ateliê Editorial, 2009). In these Brazilian editions, the most recurrent themes in the international versions are also made present, i.e., history and translation, both forms of knowledge facing the past, which contribute greatly to the construction of a concept of space. We detailed, therefore, the works and their paratexts so that we could, then, dedicate ourselves to the study of history and translation on the axes of time and space, choosing, whenever possible, to contemplate authors who discussed both fields, especially Walter Benjamin, Paul Ricoeur and Itamar Even-Zohar. We concluded that literature and translation are polysystems, that is, relational and hierarchical gatherings eternally building connections, developed and renewed as time passes. The paratexts, as hybrid as the texts they aim to present, are part of the great intercultural, political and literary negotiations operated by translation, which is the reason why we proposed the notion of the prism, so as to offer a possibility of interpretation
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  • CATHERINE MAS Department of History Florida International University, Miami, FL 786-586-2945 E-Mail Cmas@Fiu.Edu

    CATHERINE MAS Department of History Florida International University, Miami, FL 786-586-2945 E-Mail [email protected]

    CATHERINE MAS Department of History Florida International University, Miami, FL 786-586-2945 e-mail [email protected] ACADEMIC EMPLOYMENT 2019-present Florida International University, Miami, FL Assistant Professor of Modern American History EDUCATION 2019 Yale University, New Haven, CT Ph.D., Department of History, Program in the History of Science and Medicine Dissertation: “The Culture Brokers: Medicine and Anthropology in Global Miami” 2016 Yale University, New Haven, CT M.A. and M.Phil, Department of History 2012 Columbia University, New York, NY B.A. in History Honors: Cum laude, Departmental Honors (History) PUBLICATIONS Refereed Articles “She Wears the Pants: The Reform Dress as Technology in Nineteenth-Century America,” Technology and Culture 58, no. 1 (January 2017): 35–66. Book Reviews Donna J. Drucker, Contraception: A Concise History (MIT Press, 2020), Technology and Culture 61, no. 3 (July 2020): 949-951. Works in Preparation book The Culture Brokers: Miami and the Making of Modern Medicine (under contract with the University of North Carolina Press) articles “‘Falling-out’ in Miami and the History of Culture in American Medicine” (under review at the Bulletin of the History of Medicine) “From Mansion to Laboratory: Cuban Orangutans and the Making of Medical Primatology” (in progress) page 1 book chapter “Putting Covid-19 into Historical Context,” in Social Studies in the Wake of Covid (edited by Wayne Journell, under contract with Teachers College Press) FELLOWSHIPS & AWARDS John Addison Porter Prize, Yale University, 2019 Awarded by Yale University to a “written work of scholarship in any field in which it is possible, through original effort, to gather and relate facts and/or principles and to make the product of general human interest.” George Washington Egleston Prize, Department of History, Yale University, 2019 Awarded by Yale’s Department of History “for recognition of outstanding work in the field of American History.” Edwin W.