Comment on any or both of the following topics:
1. Why does Even-Zohar defend the need for polysystem studies and what other alternatives to his model can you think of?
2. Considering the positions admitted for literary translation in the literary polysystem, how would you classify the effort and consequences of Baudelaires's translations of Edgar Allan Poe to French (with repercussions in many other Latin-language countries).
então?
ResponderEliminarEven-Zohar argumenta que o "poli-sistema" não é homogéneo, mas diversificado e amplo: '(...) since at the very core of polysystem theory there lies the idea that sets cannot be fruitfully accounted for in isolation, polysystem theory has gradually been pushed to enlarge the range of factors recognized as "belonging to the system."' (página 29). Isto porque existem diversos factores que contribuem para a produção de um texto, incluindo os próprios produtores deste e os diferentes géneros literários: 'Writers, literary journals, literary criticism (...) are all literary factors. And there is no way to determine beforehand for any given period what activity among these is "the" literary "par excellence".' (página 31).
ResponderEliminarDe acordo com Itamar Even-Zohar, a literatura traduzida pode ser um dos meios de elaboração de um repertório novo: “Through the foreign works, features (both principles and elements) are introduced into the home literature wich did not exist there before” (p. 47). Nesse caso, a tradução traz novos elementos e influencia o polissistema literário da língua traduzida, participando ativamente na modelação do centro desse polissistema. Acredito que a poesia de Edgar Allan Poe traduzida em língua francesa situa-se nessa posição central indicada por Even-Zohar. Até mesmo Charles Baudelaire em suas notas acerca do poeta, além de enaltecer a sua obra literária e o seu pensamento crítico, afirma “I see some vestiges of ancient wisdom return to us from a country from wich we did not expect them” (p. 47). Através das suas traduções das obras de Edgar Allan Poe, Baudelaire incentiva a entrada de novas ideias e pensamentos na cultura francófona, assim como novas formas de criação e produção poética no sistema literário escrito em língua francesa.
ResponderEliminarA tradução de Edgar Allan Poe para francês, feita por Charles Baudelaire, não só marca a "chegada" do escritor norte-americano ao centro da Europa, mas, também, a abertura da literatura francesa (e, por conseguinte, europeia) à obra do autor de "O Corvo". Segundo Edmund Wilson (Axel's Castle) esta mesma tradução pode estar na origem do Simbolismo literário, que percorreu a Europa - de Portugal à Rússia - embora com repercussões e em contextos diferentes. Nesse sentido, pode-se assumir que a chegada da obra de Poe ao Velho Continente ultrapassou qualquer periferia e, pelo contrário, não permaneceu intacta na cultura francesa. A interferência de Baudelaire ao traduzir “The Raven” (“Le Corbeau”) para prosa, em vez de manter os versos do poema inglês, por exemplo, é um sinal claro de que a tradução não está minimamente perto de ser um simples processo de equivalências, mas, como Even-Zohar escreveu, trata-se de uma decomposição e recomposição, em determinados contextos (sociais, culturais, históricos, políticos, etc), do sistema fonte. Assim sendo, não só existe uma leitura das analogias entre mais do que um sistema, mas, também, do esclarecimento das diferenças entre eles. Essas modificações provam que existe uma bagagem e circunstâncias próprias (repertório) na cultura alvo, que não tem de necessariamente estar presente na fonte, e vice-versa.
ResponderEliminarRegina Morais
The urgency for a deep and methodical study of language might be illustrated perfectly by Jakobson when he says that "language must be investigated in all the variety of its functions". Even-Zohar, who brands this statement as "seemingly trivial", argues that the rather simplistic models of his time, that perpetuated the idea that a sign system is a pure structure, and that it must be studied as such, shackles the literary system to external factors and background. For him, the text is not the single most important factor of the literary system, because language, in itself, is the sum of all of the aforementioned factors. Even-Zohar goes on to say that "...it is the interdependencies between these factors which allow them to function in the first place." Thus, Even-Zohar's Literary scheme, demonstrates how consumer, product, producer, repertoire, instutuion and market, do not function independently and, therefore, the urgency for a system, a polysystem, that takes into account all of those factors.
ResponderEliminarIf I was to add, however, a new element to Jakobson's and Even-Zohar's scheme, it would probably be creativity, or imagination. I was reminded of this because of a videogame I played a while ago, which even intrigued linguists I might add, entitled "Journey". It places two players in a vast desert-like world where the sole means of communication are a light, a medium, and a long chirp. With these you warn the other player of danger, ask him for help, urge him to follow you, etc. What happened was that a light chirp, or two light chirps, meant danger, and everytime I tried to warn him of his impending doom with my frantic light chirps, he would a) plunge to his death or b) ignore me completely. Only when I used a two very long chirps, he understood that there was danger. There is no common repertoire in this game, you have to create one through trial and error with whoever your playing. And it takes a lot of patience and experimentation to establish a decent understanding of one another. And at any time that player might leave the game and be replaced by another, which resets the whole process.Only by being creative in my chirping, and with monumental patience, I was able to finally beat the game with a random player with whom I could communicate perfectly. It took a while, but we were willing to understand each other and build a common language through the 3 hours it took us to complete the game.