Name: JOÃO VICTOR LEITE MELO
Publication date: 20/03/2024
Examining board:
Name |
Role |
|---|---|
| ARLENE BATISTA DA SILVA | Examinador Interno |
| JÚLIA BATISTA CASTILHO DE AVELLAR | Examinador Externo |
| MARIA AMELIA DALVI SALGUEIRO | Presidente |
| TALITA JANINE JULIANI | Examinador Externo |
| TEREZA VIRGÍNIA RIBEIRO BARBOSA | Examinador Externo |
Summary: Considering the idea that a significant part of the surviving elegiac corpus of the
Augustan age (1st century BC), starring Propertius, Tibulus, Sulpicia and Ovid, is
translated into Portuguese through a structural homological model of vernacular
couplet, in which Latin hexameters and pentameters are transposed by the alternation of
verses formed by twelve and ten poetic syllables, this thesis aims to demonstrate that,
despite coexisting with other arrangements, this format represents a tradition and a
translation school in the Portuguese language. For this purpose, our work is divided into
two analytical approaches: the first is a diachronic approach, in which we gather and
comment on examples of metrical versions of Ovidian elegiac works (between the 16th
and 19th centuries), highlighting the heterogeneity of the modulations carried out in the
Renaissance, Arcadianism and Romanticism; the second is a synchronic approach, in
which we collected samples from several translators (between 1964-2022) who have in
common the choice of the 12/10 pattern in transpositions of Latin elegies. Keeping in
mind specific rhythmic and stylistic differences among each of the authors, the
chronological analysis of these works and the theoretical paratexts that accompany them
reveal that, for more than half a century, the search for structural homology with the
Latin elegiac couplet, carried out by the vernacular couplet 12/10, manifests itself in the
translations through five discursive characteristics: metric, rhythm, compensation,
isostychy and polymetry. Therefore, using theoretical-methodological parameters, as
well as practical examples offered by this historical and living tradition, we present, in
the fourth part of the thesis, the twenty-one poems that compose Ovids Heroides, fully
translated with the referred model.
