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De Brito, Ana Cassilda Saldanha (1999) Rudyard Kipling's Just So Stories Translated Into Portuguese: Contexts and Text

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De Brito, Ana Cassilda Saldanha (1999) Rudyard Kipling's Just So Stories Translated Into Portuguese: Contexts and Text De Brito, Ana Cassilda Saldanha (1999) Rudyard Kipling's Just So Stories translated into Portuguese: contexts and text. PhD thesis. http://theses.gla.ac.uk/4874/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Rudyard Kipling's Just So Stories translated into Portuguese: Contexts and Text Ana Cassilda Saldanha de Brito Thesis submitted for the degree of Ph.D. in the Department of English Literature and in the Department of Hispanic Studies of the University of Glasgow © Ana Cassilda Saldanha de Brito May 1999 Synopsis The aim of this thesis is twofold: to present a translation into Portuguese of Just So Stories by Rudyard Kipling informed by a consideration of textual, contextual and extratextual parameters; and to treat some key issues In Translation Theory and practice which have arisen out of the process of translating the text. The thesis is divided into two parts: Part One, the Introduction; and Part Two, the Translation. In Chapter One of Part One, the evolution of the reception of Kipling's oeuvre is summarised. His work became controversial, with a discrepancy between critical reservation and public acclaim. Against this background, the writings intended primarily for children form an exception. Critical response to this category, although restricted, has generally supported the favourable view of the public. Among the works most highly praised has been Just So Stories. This favourable, although scarce, attention suggests that a detailed critical examination of the text is essential to a full understanding of Kipling's work. Consequently, Just So Stories is considered in terms of its origins, critical reception, style, literary affiliations and possible sources. General points are illustrated by case studies drawn from the text. In Chapter Two, the complex factors which determine what works are translated are summarised. In contemporary Portugal, children's literature publishing is flourishing, and Kipling is represented almost exclusively as a children's author. So, a balanced view of his work is inaccessible to the Portuguese reader. Even within the field of children'S literature, Kipling is not faithfully represented. The only published translation of Just So Stories into Portuguese is an unacknowledged adaptation of a French translation, itself an incomplete version of the original English text. This Portuguese version raises wide issues about the function and role of the translator, which are discussed in detail, with reference to the work of leading theorists of translation theory. In Chapter Three, in order to deal with the factors relevant to the translation of Just So Stories, a distinction is drawn between problems resulting from culture-specific differences and problems resulting from differences in the structures of the two languages. The problems are identified and analysed, and specific case studies drawn from the translation are adduced in illustration of the solutions adopted. As a result of the task of translating Just So Stories and of the study of Translation Theory texts, a view of translation as an approximation and of the translator as a visible interpreter has been reached. Part Two of this thesis consists of the translation of the twelve stories published in 1902, and of the two extra stories published later, 'The Tabu Tale' and 'Ham and the Porcupine'. Notes are kept to a minimum and are only intended to supplement the discussion of translation problems carried out in Chapter Three. Table of Contents Preface 1 List of Abbreviations 3 Part One. Contexts Chapter One. Just So Stories: Contexts 5 1. Critical reception of Rudyard Kipling's oeuvre 5 2. Critical place of Just So Stories in the oeuvre 12 3. Characterization of the stories.. 13 4. Case studies........................................................................................................ 37 5. Conclusion 53 Chapter Two. Issues in Translation (1) 55 l. The context of translation: factors in translation publishing 55 2. Children's literature in translation in Portugal............ 57 3. The roles and functions of translation and translators 64 Chapter Three. Issues in Translation (2) 72 1. Foreword 72 2. Translation problems: cultural 73 2.1. the text world and its material, social and ideological culture 73 2.2. the relations of the text to other texts: translation of literary allusion 80 3. Translation problems: linguistic 87 3.1. grammatical differences 87 3.2. stylistic specificities 96 Part Two. Just So Stories: Text Como a Baleia arranjou a garganta 108 Como 0 Camelo arranjou a bossa 114 Como 0 Rinoceronte arranjou a pele . 120 Como 0 Leopardo arranjou os pontos . 126 o Filho de Elefante . 136 A cantilena do velho Canguru . 146 Como apareceram os Tatus . 152 Como a primeira carta foi escrita . 165 Como se fez 0 Alfabeto . 178 o Caranguejo que brincou com 0 mar . 193 o Gato que andava sozinho . 207 A Borboleta que bateu 0 pe . 222 A lends do Tabu . 236 Ham e 0 Porco-espinho . 251 Bibliography . 256 Preface Several reasons have presided over the choice of Just So Stories as a subject for this thesis. First, it is a major English text. In the context of Kipling's oeuvre and of children's literature in general, Just So Stories stands out as an exceptional instance of a text that both owes and is owed many debts. Its sources of inspiration and intertextual connections are so subtly woven into the fabric of the stories and originally reworked that they can only be traced through painstaking detection. By detailed stylistic and thematic analysis of the stories, and of their context, I hope to demonstrate their uniqueness and great literary merit. My second reason for choosing the study and translation of the stories as a topic for my thesis is tied in with the first, while it also derives from my position as a cultural agent. I believe that the work deserves to be introduced to a Portuguese audience in an authentic form. In addition, Just So Stories presents an exceptionally broad range of translation problems, both textual and contextual. Dealing with these problems, and reflecting on various principles propounded in Translation Theory, has helped me arrive at a working concept of translation. I consider translation to be not merely a linguistic, but also a cultural process. Like other cultural manifestations, it is determined by context, agents and receptors. A translation is the result of an interpretation of a text, conceived by a translator in a specific context and materialized in another language. This has two consequences. First, the translator's invisibility is a myth. His/her presence is ineluctably inscribed in the text. Second, translation is an approximation with a double objective. It aims to bring one culture closer to another while remaining as near to the source language text as conditions permit and determine. 2 This period of study and reflection has been an illuminating one. As well as affording me the opportunity to translate a challenging text under conditions that most translators can only dream of, the experience has raised my awareness of translation and creative writing issues with very enriching consequences for my work as an author and translator. It gives me pleasure to express my appreciation to the following colleagues and friends in the preparation of this thesis: Dr Donald Mackenzie and Dr Patricia Zecevic for their supportive direction. Mr. Mike Harland, for generously giving up his time to help me in my struggles with the computer. Mrs. Ann Mclaren, from whose stimulating conversations I have greatly benefitted. My Heads of Department, Professor Gareth Walters and Dr. Paul Donnelly, for their sustained interest and practical support. Mr. Michael Smith, of the Kipling Society, for his helpfulness in supplying bibliographical material. This thesis is dedicated to Basil Deane. With his unfailing support, insights and critical acumen, he has made a contribution to this work that I cannot hope to repay. 3 List of Abbreviations JB - The Jungle Book 2nd JB - The Second Jungle Book JSS - Just So Stories For Little Children Whale - 'How the Whale got his Throat' Camel- How the Camel got his Hump' Rhinoceros - 'How the Rhinoceros got his Skin' Leopard - 'How the Leopard got his Spots' Elephant - 'The Elephant's Child' Kangaroo - 'The Sing-Song of Old Man Kangaroo' Armadilloes - 'The Beginning of the Annadilloes' First Letter - 'How the First Letter was Written' Alphabet - 'How the Alphabet was Made' Crab - 'The Crab that Played with the Sea' Cat - 'The Cat that Walked by Himself Butterfly - 'The Butterfly that Stamped' SM - Something of Myself for my Friends Known and Unknown PART ONE Contexts 5 Chapter One Just So Stories: Contexts 1. critical reception of Rudyard Kipling's oeuvre Sixty years after his death, Kipling's place in English literature remains controversial. In a recent appraisal, his position is considered that of 'a puzzle for scholars of English literature, better treated with circumspection or even avoidance
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