“Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation

Detalhes bibliográficos
Autor(a) principal: Alves Ferreira Mendes, Luciane
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: por
Título da fonte: Belas Infiéis
Texto Completo: https://periodicos.unb.br/index.php/belasinfieis/article/view/27049
Resumo: “See-line Woman”, musical piece of American oral tradition, was registered in 1939, collected and reproduced in different oral performances, such as those by Leslie Feist (2007), and Nina Simone (1964). Taking as original the constant recording on the album Mississipi Goddam (1964), by Nina Simone, and evidencing the dubious sound and meaning that the recording of the lyrics, i.e. translation of orality,  can highlight, I will address some problems related to the translation of song for performance when I come across an original that strains the lyrics of the recorded song differently from the other oralized versions of 1939 and 2007.
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spelling “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation“Sim, há uma”: tradução e performance em português de “See-line woman”, a partir de uma interpretação de Nina SimoneTradução. Performance. Nina Simone. Oralidade.Translation. Performance. Nina Simone. Orality.“See-line Woman”, musical piece of American oral tradition, was registered in 1939, collected and reproduced in different oral performances, such as those by Leslie Feist (2007), and Nina Simone (1964). Taking as original the constant recording on the album Mississipi Goddam (1964), by Nina Simone, and evidencing the dubious sound and meaning that the recording of the lyrics, i.e. translation of orality,  can highlight, I will address some problems related to the translation of song for performance when I come across an original that strains the lyrics of the recorded song differently from the other oralized versions of 1939 and 2007.“See-line Woman”, peça musical de tradição oral norte-americana, foi registrada em 1939, recolhida e reproduzida em diferentes performances orais, tais como as de Leslie Feist (2007), e Nina Simone (1964). Tomando como original a gravação constante no álbum Mississipi Goddam (1964), de Nina Simone, e evidenciando a dubiedade de som e sentido que o registro da letra ”“ tradução da oralidade ”“ pode evidenciar, abordarei alguns problemas atinentes à tradução de canção para performance quando me deparo com um original que tensiona a letra da canção registrada de maneira distinta às outras versões oralizadas de 1939 e de 2007.Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília2020-03-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.unb.br/index.php/belasinfieis/article/view/2704910.26512/belasinfieis.v9.n2.2020.27049Belas Infiéis; Vol. 9 No. 2 (2020): Special issue: Translation at the Federal University of Paraná, Brazil; 233-238Belas Infiéis; v. 9 n. 2 (2020): Número especial: Tradução na Universidade Federal do Paraná; 233-2382316-661410.26512/belasinfieis.v9.n2.2020.2reponame:Belas Infiéisinstname:Universidade de Brasília (UnB)instacron:UNBporhttps://periodicos.unb.br/index.php/belasinfieis/article/view/27049/25742Copyright (c) 2020 Belas Infiéisinfo:eu-repo/semantics/openAccessAlves Ferreira Mendes, Luciane 2020-03-31T16:21:25Zoai:ojs.pkp.sfu.ca:article/27049Revistahttps://periodicos.unb.br/index.php/belasinfieisPUBhttps://periodicos.unb.br/index.php/belasinfieis/oai||germanahp@gmail.com|| belasinfieis@gmail.com2316-66142316-6614opendoar:2020-03-31T16:21:25Belas Infiéis - Universidade de Brasília (UnB)false
dc.title.none.fl_str_mv “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
“Sim, há uma”: tradução e performance em português de “See-line woman”, a partir de uma interpretação de Nina Simone
title “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
spellingShingle “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
Alves Ferreira Mendes, Luciane
Tradução. Performance. Nina Simone. Oralidade.
Translation. Performance. Nina Simone. Orality.
title_short “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
title_full “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
title_fullStr “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
title_full_unstemmed “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
title_sort “Sim, há uma”: translation and performance into portuguese of “See-line woman” based on Nina Simone’s interpretation
author Alves Ferreira Mendes, Luciane
author_facet Alves Ferreira Mendes, Luciane
author_role author
dc.contributor.author.fl_str_mv Alves Ferreira Mendes, Luciane
dc.subject.por.fl_str_mv Tradução. Performance. Nina Simone. Oralidade.
Translation. Performance. Nina Simone. Orality.
topic Tradução. Performance. Nina Simone. Oralidade.
Translation. Performance. Nina Simone. Orality.
description “See-line Woman”, musical piece of American oral tradition, was registered in 1939, collected and reproduced in different oral performances, such as those by Leslie Feist (2007), and Nina Simone (1964). Taking as original the constant recording on the album Mississipi Goddam (1964), by Nina Simone, and evidencing the dubious sound and meaning that the recording of the lyrics, i.e. translation of orality,  can highlight, I will address some problems related to the translation of song for performance when I come across an original that strains the lyrics of the recorded song differently from the other oralized versions of 1939 and 2007.
publishDate 2020
dc.date.none.fl_str_mv 2020-03-31
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.unb.br/index.php/belasinfieis/article/view/27049
10.26512/belasinfieis.v9.n2.2020.27049
url https://periodicos.unb.br/index.php/belasinfieis/article/view/27049
identifier_str_mv 10.26512/belasinfieis.v9.n2.2020.27049
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.unb.br/index.php/belasinfieis/article/view/27049/25742
dc.rights.driver.fl_str_mv Copyright (c) 2020 Belas Infiéis
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2020 Belas Infiéis
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília
publisher.none.fl_str_mv Programa de Pós-Graduação em Estudos da Tradução (POSTRAD) do Departamento de Línguas Estrangeiras e Tradução (LET) do Instituto de Letras (IL) da Universidade de Brasília
dc.source.none.fl_str_mv Belas Infiéis; Vol. 9 No. 2 (2020): Special issue: Translation at the Federal University of Paraná, Brazil; 233-238
Belas Infiéis; v. 9 n. 2 (2020): Número especial: Tradução na Universidade Federal do Paraná; 233-238
2316-6614
10.26512/belasinfieis.v9.n2.2020.2
reponame:Belas Infiéis
instname:Universidade de Brasília (UnB)
instacron:UNB
instname_str Universidade de Brasília (UnB)
instacron_str UNB
institution UNB
reponame_str Belas Infiéis
collection Belas Infiéis
repository.name.fl_str_mv Belas Infiéis - Universidade de Brasília (UnB)
repository.mail.fl_str_mv ||germanahp@gmail.com|| belasinfieis@gmail.com
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