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In this article, we present a brief summary of the critical review made by Jean-Michel Adam and Ute Heidmann (ADAM; HEIDMANN, 2011) of two French translations of Kafka's narrative about four myths of Prometheus, which, after having been compiled, amended and published by Max Brod, became known under the German title of Prometheus. We also bring a summary of the discussion led by the authors on the divergences between Brod's amended text and Kafka's original manuscript, which diverges from the first. We then list two consecrated translations in Portuguese, two in Spanish and two in Italian of the text compiled by Brod. These translations are accompanied by brief reflections we have made on the translators' strategies and decisions. Concerning our theoretical support, in the specific area of translation criticism we have resorted to the theory developed by Reiß (1986) and, in the scope of poetics of translating, to Meschonnic (2010) and Borges (1974). Finally, we present our translation proposal, in Portuguese, for the original by Kafka and the text amended by Brod. [ABSTRACT FROM AUTHOR]

Belonging to the club of world literature is not necessarily the result of the quality of a work's or author's literary writing. What it really denotes is the high point of a trajectory involving multiple agents who enable a work to gain popularity and recognition not just in countries considered to be central for literary consecration, but around the world, too, since world literature can only acquire that designation when it is known in different national fields that make up the international literary space. This article aims to follow the international impact of Jules Verne, a major author in world literature, by analyzing the work of two editors: Pierre-Jules Hetzel, in charge of Verne's publications in France, and Baptiste-Louis Garnier, the agent behind Verne's translations in Brazil. I will thus consider Hetzel's strategies, which made Verne's novels international successes, and Garnier's actions, which made it possible for Verne's work in translation to spread in Brazil. I will also confirm aspects of Verne's critical reception in France and Brazil in order to identify the status the author acquired in these countries as a result of the initiative of these publishers. [ABSTRACT FROM AUTHOR]

Difficult to classify, César Aira's novels and J. Rodolfo Wilcock's short stories are inherently concerned with the study of a twilight time. They show the collapse in societies where the course of life and the promise of the future are disrupted by threats to generational continuity. Both authors wrote overwrought and bizarre stories. Both leave readers perplexed about their "tradition". Although both authors share a common space of experience, there are no references to each other in their works. [ABSTRACT FROM AUTHOR]

The choice of a "dead language" and the idiosyncratic spelling in one's own mother tongue, overwritten in the image of two indeterminate figures (something and someone), make the Greek title (OUTις) and the Portuguese text (NO ONE) "unreadable" in the first instance, proposing the poem as a kind of trobar clus, a "dark" or "closed" (occluded) work, as the shadows in the background suggest. However, the poem is almost translucent: oútis means "nothing" and "nobody", literally translated in the text and photography, in an indexical (Peirce) and constatative (Austin) form. How is this performative contradiction explained? In what sense will this strange text be called (or not) "literature"? What can this poem tell us about the poetry of Augusto de Campos in general? [ABSTRACT FROM AUTHOR]

This essay discusses aspects related to the production of indigenous textualities, taking as reference two versions of Watunna, the Ye'kwana cosmogony: that of the French Marc de Civrieux and that of the Ye'kwana Marcos Rodrigues. To do so, we approach the indigenous poetic plurality of circum-Roraima, which is a rich space in terms of human and cultural diversity, located on the triple border Brazil-Guyana-Venezuela. Our proposal assumes the need to cultivate an area of investigation that brings literary theory closer to anthropology and that takes into account the particularities arising from indigenous cultures and languages. This means that the written record of indigenous verbal arts brings into play a complex process of creation, recreation, translation, and circulation, involving not only a poetic dimension, but also an ethical and political one. [ABSTRACT FROM AUTHOR]

This article offers a revision of the concept of total translation, a guiding principle upon which US poet-translator Jerome Rothenberg developed his work (1931-). The approach used here consists of an analysis of Rothenberg's practice as a translator, based on a reading of essays and translations by him, identifying and contextualizing some of the theoretical challenges he faced. One of the proponents of the movement known as ethnopoetics, Rothenberg was part of a generation that, from the late 1960s onwards, highlighted the poetic quality of Amerindian songs and narratives, drawing attention to how Indigenous verbal arts are organized in terms of parallelism, prosody and paralinguistics in the expressive forms under discussion. In the analysis developed in this article, I examine Rothenberg's translation of "The 13th Horse-Song of Frank Mitchell," a Navajo horse-song, which he did in partnership with ethnomusicologist David McAllester. [ABSTRACT FROM AUTHOR]

The following article reflects on linguistic "normalization", based on three books published before and immediately after the Chilean social outbreak of October 18, 2019: El sistema del tacto, by Alejandra Costamagna, Poeta chileno, by Alejandro Zambra and Piñen, by Daniela Catrileo. These narratives reveal critical sensitivities and perceptions of contemporary Chile, and dismantle a series of hegemonic approaches to the family, education and particularly, the idea of a national language, by showing the fractures of this conception and linguistic diversity in a country that until very recently was perceived as "monolingual". [ABSTRACT FROM AUTHOR]

Serbal (2019) is an unpublished collection of poems by Leonce Lupette (Göttingen, 1986), a French-German writer, poet and translator who has lived in Argentina for several years. In this collection of poems, structured alphabetically as a sort of encyclopedia or incomplete notes, the explorer-botanist-poet proposes an expanded way of seeing and inhabiting reality, exploring ways to describe reality and expressing oneself in a playful exercise of blurring the borders between names and languages. The poems are written in Spanish, but also in German, French, English, Portuguese, Portunhol, among other languages and dialects, and they compel us to look at the world and to inhabit it from the small differences and to build what we could call "inessential communities", paraphrasing Agamben (1996). [ABSTRACT FROM AUTHOR]

This paper examines passages of works by Saint Augustine, Nietzsche and Walter Benjamin based on certain themes proposed by Jacques Derrida, with an emphasis on the issue of translation and writing as an inscription of the self. The problem (the Benjaminian Aufgabe, that is, a necessary and impossible task) is how to translate the untranslatable, namely, the life, the necessity and the impossibility of this translation, narrated from the philosophy of these four authors. [ABSTRACT FROM AUTHOR]

This article investigates the dynamics of contemporary Romanian, focusing on various linguistic structures typically used on social network sites, through which the specific content and interaction strategies are being deployed in virtual communities. The article is part of a larger project devoted to the study of linguistic impoverishment (affecting both the vocabulary and the grammatical structure of the language), social networks being only one of the areas where these "uglified" linguistic structures come from: the mass-media (both print and broadcast), advertising (outdoor, indoor, television commercials), Internet forums, corporate jargon, etc. The structures under scrutiny are mostly loan translations (i.e. calques) from English, false friends, hybrid constructions and, generally, lexical and grammatical oddities (sometimes even in the source language), which, nevertheless, due to frequent use, have entered the active vocabulary of a large category of speakers and are therefore becoming pervasive in everyday conversation. The proliferation of these 'mongrel' structures in common parlance is also the result of their migration, on the principle of communicating vessels, to other areas of interpersonal and public communication, that of advertising in particular. Moreover, their oddity and inappropriateness are now beginning to pass unnoticed, as more and more speakers are treating them as legitimate linguistic forms, which often end up being recorded in dictionaries. Our approach combines theoretical insights with practical solutions and the pragma-linguistic perspective with the translator's corrective input. [ABSTRACT FROM AUTHOR]

This paper presents an analysis of the relationship between the practices of translation and of poetical creation in Josely Vianna Baptista's work, emphasizing the coexistence of different cultural traditions and the consequent elimination of the dichotomies between mythical and historical, primitive and civilized, native and foreign. The paper also seeks to demonstrate that this process of coexistence and elimination implies the destabilization of the representational view of language and revives the link between the ethnic, the ethical and the political, promoting a conception of collective life that underscores its uniqueness. [ABSTRACT FROM AUTHOR]

Approach to the relationship between Jacques Derrida's and Walter Benjamin's thoughts on translation. Reading of the essay "Towers of Babel", in which Derrida, in order to deconstruct a traditional theory of translation as the convey of meaning, comments on Benjamin's famous essay "The Task of the Translator". Finally, an interpretation of the philosophical issue of friendship, having as a starting point Derrida's relation to the thoughts of Benjamin, Heidegger and Gadamer, among others. [ABSTRACT FROM AUTHOR]

This paper is about the double role of Samuel Beckett as author and translator of his own work. We will take the play Waiting for Godot as an example. The hypothesis is built from an interpretation of Walter Benjamin's "The task of the translator", being that Beckett's selftranslation is related to some sort of reflexion and criticism on the Occidental niilism. We will try to situate this hypothesis in Benjamin's discussion through the conception that it is impossible to the translation of an already translated work to keep its sense. We believe that this point of Benajmin's discussion on translation refers to some sort of impossibility of not recognize the mythical/sacred/absolut content of the human experience (and we must have in mind the negative and destructive value that the myth has in Benjamin's work). The original would be a figuration of this sacred content, while the translated work would be the figuration of the historical and changeable aspects of human work. [ABSTRACT FROM AUTHOR]

The study of the critical views on Proust allows an appreciation of the strategic importance of the translations made by the writer, in their relationship with his other works. His two translations, La Bible d'Amiens and Sésame et les lys - books by John Ruskin -, allow him to fight the image of dilettant and decadent writer created at the beginning of his literary career. They will also generate polemics concerning Ruskin's importance in his fictional work. [ABSTRACT FROM AUTHOR]

It's well known that to German Romantic culture translation is related to the process of formation, being associated with the very concept of Bildung, as already pointed out by Antoine Berman. Bildung necessarily refers to the dimension of experience, a process of enlargement and unfolding, which is a perfect metaphor to the notion of travel, so important to the Romantics. Such movement of crossingover, which is the unsettling "task of the translator", can be understood as a process of navigation through that nebulous region where one hears the Sirens' call, and as Maurice Blanchot once wrote, one runs the risk of disappearing. [ABSTRACT FROM AUTHOR]

The icon is operationally defined as a sign whose manipulation reveals, by direct observation of its intrinsic property, some information on its object. This definition represents a detrivialization of the concept of icon as a similar entity. Here we explore Haroldo de Campos' concept of "iconic translation", and we develop this concept in a new direction, based on an operational criterion that associates the icon to diagrams, iconic signs of relationship. It is a well-known argument that creative translation recreates isomorphic (or paramorphic) relations between different levels of description (or organization) of the translated sign. This idea is framed here by an operational concept of icon capable of revealing a definite form of a relationship. In the end, I exemplify my argument showing a case of translation of John Donne, by Augusto de Campos. [ABSTRACT FROM AUTHOR]

The language policy carried out by the colonial administration of hispanic America is directly linked to the catechism of the Catholic Church. When the decision of which languages to use for catechism was taken (in this case the general languages) a debate arose among the missionary orders about whether or not these languages were able to transmit the Christian doctrine. The evangelization process brought about the production of grammar books, bilingual dictionaries and spelling suggestions for these languages. This article focuses on the translation policies defined by the Church Councils. These included the resemanticization of ethnic terms defining the Entities and andean religious practices. The Spanish translation of lexical entries in dictionaries of that period, as well as the adoption of certain Spanish words into indigenous languages, reveal the nature of the demonizing process that was carried out. [ABSTRACT FROM AUTHOR]

The translator and novelist Didier Lamaison answers to questions about his experience as a translator of the poet Carlos Drummond de Andrade, the untranslatable, the translation as a form of change and original's renewal and features in the translation of poetry. [ABSTRACT FROM AUTHOR]

In this paper, Antoine Berman analyses different discourses about translation and proposes a new one, named traductology. He also suggests eleven tasks for traductology, which is understood as "the translation's reflexion about itself, by its own nature of experience". [ABSTRACT FROM AUTHOR]

On one hand, we have shown in this article how text and meta- text are treated dissimilarly when referred to international best-sellers, that is to say, bestsellers which are made to be translated best-sellers; and, on the other hand, how, through specific features, translated bestsellers follow a systematized pattern to achieve what Venuti calls effect of transparency. [ABSTRACT FROM AUTHOR]

The author introduces the work of the contemporary French poet Jacques Roubaud and comments on her Brazilian translation of his Quelque chose noir. [ABSTRACT FROM AUTHOR]

Translation of the first French sonnet according to Jacques Roubaud and a comment about its importance for a poetic of translation. [ABSTRACT FROM AUTHOR]

The Journey to the Land without Death (1937) is the first of the three volumes of Döblin's South-America Trilogy Amazonas. Based upon the work of ethnologists like Theodor Koch- Grünberg, whose work constitutes also an important reference for Mario de Andrade's Macunaíma (1928), Döblin doesn't simply translate those ethnographic notes of a "primitive" culture on the perspective of a culture that pretends to be "civilized": he invites the reader to discover himself in this other culture apparently so "primitive". In other words, instead of simply experiencing a "translation of the other", Döblin invites the reader to "translate himself upon this Otherness", finding out an Other that is unbelievably human. This paper aims at a preliminary discussion of Döblin's Alterity equation, i.e. of the way he poses the problem of Otherness in his Trilogy. This discussion outlines the critical principles of a possible translation project of this work to Brazilian Portuguese. [ABSTRACT FROM AUTHOR]

The article bases itself on the notion that the only available gateway to the ethno-knowledge strewn in the oral narratives that exist in the more than 180 indigenous languages spoken in Brazil is translation. The article focuses on the translation of a bilingual nhengatu-portuguese poem. The study of the poem allows for an introduction to the languages of the tupiguarani family, particularly those called the General Languages and provides information on translation tools: dictionaries, lexicons, glossaries and wordlists. Translations produced by missionaries during the colonial period and by 19th and 20th century tupinologists are background to the analysis of certain problems: the lack of specialized translators, the scarceness of grammar books and dictionaries, the typological gap between indigenous languages and European languages and finally, the differences in register use: indeed the issue here is translating non-graphic languages where the oral tradition pervades, into languages of the written tradition. [ABSTRACT FROM AUTHOR]

The present text aims to present reflections on the translations which are included in Jorge Luis Borges and Italo Calvino's works. It identifies how these writers saw translations, as well as their possibilities and limits, in close relationship with other literary concepts which permeate their works. Even when their works about the theme are not systematical and it is not possible to talk about a "translation theory" in relation to these authors' works, their reflections on the translation process and the developments of the same in their fictional works, certainly produce echoes in criticism and literary theories. [ABSTRACT FROM AUTHOR]

The relations between different cultures have been developed for a long time in cultural history by the correlated work of translators and travelers. Since the beginning of the fifteenth century, the representation of other peoples and cultures disseminated by these agents has been in service of the European colonial power in order to justify and naturalize its domination over its colonies. In modern times the work of academics and anthropologists has taken place as a legitimating discourse of economic and cultural neoimperialism. The implicit violence enclosed in the representations of other peoples provided by them consists basically in demonstrating their pretended incapacity of self-rule and development without European dominion. In this work we try to point out how some of those described cultural practices have been present in Brazilian history, disclosing in which ways cultural representations about other peoples can carry an implicit discourse of domination. [ABSTRACT FROM AUTHOR]