Name: ENIO GONTIJO DE LACERDA
Publication date: 29/11/2024
Examining board:
Name |
Role |
|---|---|
| GASPAR LEAL PAZ | Examinador Interno |
| GUILHERME GONTIJO FLORES | Examinador Externo |
| JUNIA CLAUDIA SANTANA DE MATTOS ZAIDAN | Examinador Interno |
| LEONARDO DAVINO DE OLIVEIRA | Examinador Externo |
| WILBERTH CLAYTHON FERREIRA SALGUEIRO | Presidente |
Summary: In this thesis, we propose a study of songs by Vinícius de Moraes and Tom Jobim in English and French versions through a comparative analysis between the original and the translation. We argue that the melody is responsible for the choice of verses and syllables, bringing with it virtual musical phrases that, when combined with the lyrics, will be converted into intonation units, thus having the possibility of being reworked in other languages, since the melody of a song is deeply related to the intonation of speech. From there, we can also glimpse the problem of the research: one of the first questions that arose as soon as the theme was decided and what would carry on its development and systematization was whether there were any relevant differences between the translation of poetry and song lyrics, which we soon confirmed. The main element that leads us to believe in this assumption is the fact that the lyrics are decisively related to the melody of the song, producing very particular notions of time, space and rhythm. We also come across other issues that will be expanded by creating a hypothetical framework: a dialogue between the original and the translation with poetic resonances outlining an intriguing palimpsest. Our aim is to show that, in the versions of the songs, in addition to the action of a conventional translator, there are other agents responsible for the meaning, namely the composer/translator, the reader/listener and the interpreter, and to discover whether and how the main elements of the original songs (poetic and cultural) are conveyed in the versions/translations. In other words, it is a study mediated by a triple action and that gains foundation only if the possible articulations between word, music and performance are explored. To this end, we used, as a theoretical framework, a triad composed of the so-called creative translation, by Haroldo de Campos, by Peter Low's pentathlon theory and the semiotics of song developed by Luiz Tatit, as we believe that choosing this transdisciplinary pyramid will enable us to find more specific answers and present a contribution to such a new topic with little published material on the subject
