Da literatura para a dança: a prosa-poética de Gertrude Stein em tradução intersemiótica

• Autor(a) principal: Aguiar, Daniella de
• Data de Publicação: 2013
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/6067
• topic: Contemporary Dance; Intersemiotic Translation; Intermediality; Semiotics; Gertrude Stein; Dança Contemporânea; Tradução Intersemiótica; Intermidialidade; Semiótica; Stein, Gertrude, 1874-1946 Crítica e interpretação; Literatura e dança; Stein, Gertrude, 1874-1946 Traduções; Tradução e interpretação; Semiótica e literatura; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA COMPARADA

The scope of this dissertation is the relation between the poetic-prose of American writer Gertrude Stein, through her portraits and plays, and its intersemiotic translations to contemporary dance. The analytic corpus articulates Gertrude Stein s portraits Orta or One Dancing , If I Told Him: A Completed Portrait of Picasso , A Valentine to Sherwood Anderson , and plays Four Saints in Three Acts, Listen to Me and Three Sisters Who Are Not Sisters and the dance performances [5.sobre.o.mesmo], Shutters Shut, Always Now Slowly, ,e[dez episódios sobre a prosa topovisual de gertrude stein]. The nature of the compared fields literature and dance demanded the combination of two strands of study related to the performative and translational specificity of the selected objects: on one hand, we follow a derivation from the traditional comparatistic, the Interart Studies or Comparative Arts; on the other hand, Intermediality Studies, related to Media Studies. The approach applied to the examples under a comparatistic perspective is based on Translation Studies, with special reference to Haroldo de Campos s notion of transcreation, and it is also based on Charles S. Peirce s semiotics. On the first chapter, we define our theoretical approach; following, we present Gertrude Stein s oeuvre and its major properties that transformed it in the one of the main literary and aesthetic references of the twentieth century; and, to finish, we analyze the translations, with special regard to the transcreation of Stein s time perception and syntactic constructions. We conclude suggesting that the translations to dance are interpretation and reading modes of the literary texts, as well as radical forms of literary and artistic critic