Resumo em Inglês:

Abstract: In the light of the imagery associated with Samuel Beckett’s Waiting for Godot, in set designs, posters and book covers, the present article examines Tom Phillips’s illustrations for the Folio Society edition of Waiting for Godot (2000). Considering that Phillips’s images embody a particular style in form and structure, functioning as pictorial elements recalling contexts, images and relations, we propose that the artist expands the visual interpretative frame of the play, predicating his work on the premise that readers will have had previous contact with the work either in performance or as a text.

Resumo em Português:

Resumo: Neste artigo, investigamos a tradição e a inovação na obra A Bela e a Adormecida por meio da análise da construção da narrativa, considerando o importante papel do projeto gráfico e das ilustrações. Dessa forma, abordamos as colaborações entre dois importantes autores britânicos: o escritor Neil Gaiman e o ilustrador Chris Riddell. Como referencial teórico priorizamos os estudos sobre ilustração e projeto gráfico de livros infantis - Nikolajeva e Scott, Moraes, Linden, Ramos -, dialogando com estudos sobre contos de fadas - Betelheim, Coelho, Corso e Corso. Pudemos observar que mesmo não se tratando de um livro ilustrado, de acordo com a concepção inglesa de picturebook, a narrativa é contada não apenas pelo texto escrito, mas também pelas ilustrações e pelo projeto gráfico. O diálogo entre escritor e ilustrador e a liberdade que este teve para apresentar seu ponto de vista foram fundamentais para o sucesso da obra.

Resumo em Inglês:

Abstract: We investigate in this article tradition and innovation in the book The Sleeper and the Spindle through the analysis of the narrative construction. We also look upon the important role played by the graphic project and illustrations in this book. Thus, we address in our analysis the collaboration between two important British authors: the writer Neil Gaiman and the illustrator Chris Riddell. We prioritize as theoretical reference for this study the research made on illustration and graphical project of children books by Nikolajeva e Scott, Moraes, Linden, Ramos. We also employ the studies of fairy tales by Betelheim, Coelho, Corso e Corso. Taking into consideration that the book cannot be categorized as a picturebook as defined by the British concept, the narrative is not only told by its texts, but also by its illustrations and graphic project, as highlighted in this essay. The dialogue between writer and illustrator and the freedom that the latter had to present his point of view were the milestone for the success of this book.

Resumo em Inglês:

Abstract: This article investigates how diverse layers of meanings can be seen in different interactions of the same work, as it is illustrated or adapted by different artists. Starting from a single source material, Neil Gaiman’s The Graveyard Book (2008), we analyze two versions and one adaptation of the text: one novel illustrated by Dave Mckean (2008) and another by Chris Riddell (2009); and a graphic novel (2014), adapted by P. Craig Russell. We draw our analysis from authors in the fields of Children's Literature and Comics Studies to discuss the construction of meanings between the interplay of written and visual texts. Such interactions have a range of variation taking into consideration both the format of the work (novel or graphic novel), the choice of a scene to be illustrated, and stylistic approaches.

Resumo em Português:

Resumo: Este artigo tem por objetivo discutir a noção de Autor e Obra como correlatos e sua inserção em uma problemática da unidade entre essas noções, em uma perspectiva embasada em Foucault (2008, 2009). A partir de Maingueneau (2006) e Bourdieu (1996), os Quadrinhos são tomados, neste trabalho, como uma instituição relativamente autônoma que engendra um campo de atividades, o campo quadrinístico, no qual sujeitos posicionados como autores, mediadores e leitores atuam na elaboração, sustentação e legitimação dos nomes de Autores. A discussão sobre a unidade Autor-Obra se ampara na comutabilidade autoral presente nos Quadrinhos. A comutação autoral é o processo pelo qual as obras de quadrinhos são produzidas por diferentes autores, intercambiáveis entre si em outras obras e com papéis diversificados, tais como roteirista, desenhista, arte-finalista, colorista, entre outros. A discussão aponta para as dificuldades que há em definir o funcionamento da autoria (a função-autor) nos Quadrinhos devido à não-unidade entre Autor e Obra, característica dessa instituição.

Resumo em Inglês:

Abstract: This article aims to discuss the notion of Author and Work as correlates and their insertion into a problematic of unity between these notions, in a perspective based on Foucault (2008, 2009). From Maingueneau (2006) and Bourdieu (1996), the Comics are taken, in this article, as a relatively autonomous institution that engenders a field of activities, the Comics field, in which agents positioned as authors, mediators and readers act in the elaboration, sustentation and legitimation of the Author's names. The discussion about the Author-Work unit is based on the author's commutability present in the Comics. Author's commutation is the process by which comics works are produced by different authors, interchangeable in other works and with diverse roles, such as writer, artists, colorist, among others. The discussion points to the difficulties in defining the functioning of authorship (the author function) in the Comics due to the non-unity between Author and Work, characteristic of this institution.

Resumo em Português:

Resumo: Este artigo apresenta os resultados de uma pesquisa sobre a tradução voluntária e colaborativa de fanfictions, histórias escritas por fãs, presentes com maior ocorrência nos últimos anos na Internet. Embora a tradução colaborativa não seja um fenômeno novo, tendo sido documentada na história da tradução no Ocidente e nas culturas não ocidentais, na era digital esta forma de traduzir ganha novas dimensões. Duas traduções de fanfictions, Palavras com Estranhos (no original, Words with Strangers, de Nolebucgrl, uma autora de fanfictions) e Palavras com Amigos (Words with Friends, da mesma autora), realizadas por um grupo de tradutoras no Brasil servirão como exemplos para salientar algumas características da tradução colaborativa de fanfictions realizada na Internet. A pesquisa revela o caráter coletivo da prática tradutória, elaborada e publicada online por tradutoras femininas não profissionais. Nossa análise destaca o trabalho em “cadeia”, a interação entre tradutores e leitores, e o processo de elaboração marcado por tempos específicos que resultam dessa dupla interação: entre as tradutoras, por um lado, e entre tradutor-leitor, por outro.

Resumo em Inglês:

Abstract: This article presents the results of a research on voluntary and collaborative translation of fanfictions (stories written by fans), which have figured with higher incidence on the Internet in recent years. Although collaborative translation is not a new phenomenon and has been documented in the history of translation in Western and non-Western cultures, it gains new dimensions in the digital era. Two fanfictions, Palavras com Estranhos (in the original, Words with Strangers, by Nolebucgrl, a fanfiction author) and Palavras com Amigos (Words with Friends, by the same author), translated by an online group of 33 Brazilian translators reveal some features of the process of collaborative translation on the Internet. The research reveals the collective character of the online translation practiced by non-professional female translators. Our analysis highlights the chainwork of such a practice, the interaction between translators and readers, and the process singled out by this dual interaction on one hand, between translators themselves and, on the other hand, between translator and reader.

Resumo em Português:

Resumo: Pride and Prejudice and Zombies, de Jane Austen e Seth Grahame-Smith, é um mashup literário, procedimento de fragmentação de uma obra clássica para nela enxertar elementos da cultura pop contemporânea. Um dos principais questionamentos levantados pelo romance envolve o jogo de palimpsesto inerente à sua autoria, uma vez que a obra foi produzida através da escrita de uma autora morta (Austen) e de um autor vivo (Grahame-Smith). Cabe notar que a romancista inglesa do período regencial já experimentara intricadas dinâmicas para atribuição de autoria às suas próprias obras quando de sua publicação pela primeira vez. Nesse contexto, o presente artigo analisa o jogo entre autor vivo/letra morta e obra viva/escritor morto, tão marcante na colaboração artística que gerou Pride and Prejudice and Zombies.

Resumo em Inglês:

Abstract: Pride and Prejudice and Zombies, by Jane Austen and Seth Grahame-Smith, is a literary mashup, a fragmentation procedure of a classical work so as to engraft into it elements from contemporary pop culture. One of the main questions raised by the novel involves the palimpsest game inherent to its authorship, since the work was produced through the writings of a dead author (Austen) and a living author (Grahame-Smith). The English novelist from the regency period had already experienced intricate dynamics of authorship attribution to her own works when they were published for the first time. In this context, we herein analyze the dialectics between a living author/dead letter and a living work/dead writer, so important in the artistic collaboration that generated Pride and Prejudice and Zombies.

Resumo em Inglês:

Abstract: This article considers the proofing of illegally-printed texts, primarily during the sixteenth and seventeenth centuries. We argue that proofing - the practice of correcting a text during the printing process - is key to understanding the social dynamics of authorship, and the strains on production resulting from political suppression of the press during this period. We look at the evidence of proofing left in books (usually religious pamphlets), as well as the testimony of authors and printers. These sources reveal that illegal printing necessitated a remarkable degree of team work.

Resumo em Inglês:

Abstract: This study aims to analyse the creative process of literary collaboration and, more specifically, of collaborative translation from the theoretical and methodological perspective of genetic criticism applied to translation studies (genetic translation studies). Saint-John Perse’s poem Amers (1956) was translated into English by the American translator and literary scholar Wallace Fowlie in 1957. The manuscripts of this translation, which present the main focus of this article, are kept in the archive of the Saint-John Perse Foundation in Aix-en-Provence (France), and reveal the genesis of a collaborative translation: Wallace Fowlie’s manuscript is paralleled by the work of an unofficial translator, John Marshall, whose manuscript appears to be the closest to the final version. Both manuscripts show the hand-written suggestions, corrections, and variants of the poet himself. Spanning the various stages of the writing process from which the generation of this collaborative translation progressively emerges, the two manuscripts show a fascinating interaction. Saint-John Perse constantly confronts the versions of his two translators, sculpting them according to his poetic art. He also creates numerous columns of variants in the margins that display the semantic treasure of the original expression. The reader approaching this translation from a genetic standpoint can discover the sinuous gestation of the translation process, as well as the semantic and phonetic laws that govern the poet’s choices. He can also make good hermeneutic use of the poet’s variants, revealing an unexpected interpretative key. Consequently, through analysis of these avant-textual discoveries, many metaphors in absentia can become metaphors in praesentia, leading to a better understanding both of the original poem and its translation.

Resumo em Inglês:

Abstract: This paper draws on a research focused on Brazilian literary life in the first half of the twentieth century. Taking up the idea that Brazilian culture and Brazilian literature must be approached as a language in itself, it aims to contribute to throwing light upon the crucial decades in which Europe’s influence as trendsetter begins to fade. A survey of letters sent from abroad by Brazilian writers to their colleagues in that period will show how displacement influenced their views on literature and life and the depth of their dependence on keeping up a dialogue with home-staying literary friends. Most of the Brazilian authors living in foreign countries in the 1940s and 1950s of the last century displayed in their letters the need to remain in touch with their national literature, whereas searching to establish contact with writers from the countries they were residing in was seldom a priority.

Resumo em Inglês:

Abstract: The article focuses on Irish author Dermot Healy’s involvement with memories of old people within two collaborative projects: the making of a film based on the documentary novel I Could Read the Sky by Timothy O’Grady and Steve Pyke (1997), and the development of a documentary drama with the clients of a day care centre in Co. Monaghan, entitled Men to the Right, Women to the Left (2001). It examines the methods used to record the material and its subsequent creative use, particularly in comparison with the technique of British verbatim theatre, and in the context of the imperfections of individual memory that are deftly explored in Healy’s memoir The Bend for Home (1996). The essay ultimately argues that notwithstanding problems concerning authenticity, Healy’s play, alongside O’Grady and Pyke’s book and Nichola Bruce’s film version of it, should be regarded as vital contributions to the formation of Ireland’s cultural memory, particularly as they powerfully reconstruct “the mundane everyday” that is so often lost.

Resumo em Inglês:

Abstract: The term “transmedia” has gained popularity in the entertainment industry and has been widely used to designate the use of several media platforms that converge to tell a story. As a result, transmedia changes the modes of consumption and production of contemporary cultural products. On one hand, transmedial projects attract consumers that are no longer just readers or players (or users, spectators, etc.), but are a combination of them. On the other hand, these projects often require “superproducers” or “superartists”, with knowledge and skills in various media, or a well-planned collaboration between producers or artists. In this article, we will examine the collaborative productions in the Canadian Secret Path (2016) and in the Brazilian Airplane Mode (2017) transmedial projects.

Resumo em Inglês:

Abstract: The mediumistic relationship between W. B. Yeats and his wife George (née Hyde Lees) is an important guide to the creative work produced by the Irish poet after their marriage in 1917. Their unusual collaboration illuminates the esoteric philosophy expounded in the two very different versions of Yeats’s book A Vision (1925 and 1937). It is also theoretically interesting in itself, not only in the early period when the automatic experiments produced the “system” expounded in A Vision, but also in the 1920s and 1930s, when the Yeatses’ relationship had matured into an astonishingly productive mature partnership. This essay analyses symbols the Yeatses themselves used to conceive of their joint work, particularly the symbolic structures and constructed selves of the collaborators, and particularly in the later period. The authors’ own terminology and understanding shed light on their joint authorship; that collaboration produced not only texts but also meaning, as can be seen by the example of the poem “Michael Robartes and the Dancer.”

Resumo em Inglês:

Abstract: Wordless books are traditionally associated with illiterate children. However, many of them have fragmented and dense proposals, assuming skills and prior knowledge that a young reader would hardly have. Thus, in research whose focus is on books for children selected by the Brazilian - National Program of the School Library (PNBE), we chose to study Renato Moriconi and Ilan Brenman’s Bocejo. The book consists of apparent isolated scenes that, joined together, form a unique whole, dialoguing with stages that show the history of humanity - from Bible’s Eve to the arrival of man on the Moon or from the act of an individual reader to the interaction with the book. Lack of words that could guide the understanding of the reader, temporal gaps between scenes and the multiplicity of elements which compose each picture lead to structure and thematic fractures that complicate the reception of the book by the beginning reader. The meanings of the story emerge by a picture and the articulation with the fact that the character represented is referring to. The proposal of the work prioritizes the emancipatory nature of the reader; however, in the case of young readers, mediation is necessary to help children in the process of comprehension, understanding the book and the art process involved in this humanity path.

Resumo em Inglês:

Abstract: Beckett’s Rough for Theatre I, first written in French in the late 1950s, picks up the theme of Yeats’s The Cat and the Moon-itself based on earlier material, including Synge’s The Well of the Saints. Staging mutually dependent disabled bodies and charting the elaboration of joint poetic vision, both plays also paradoxically focus on the dramaturgical and poetic potential of collaborative failure. While Yeats insisted that his play should be read allegorically as a dramatisation of the journey towards Unity of Being, this paper attempts to take it at face value, alongside Beckett’s sequel, reading them both as dramas of (failed) collaboration between disabled, mutually complementary bodies. More specifically, it argues that despite Yeats’s best effort to allegorise the grotesque bodies on the stage into abstract principles of Body and Soul, something in his play refuses to be subsumed into allegory and resists the play’s drive towards unity. This resistant “something” has to do with the queer (in every sense) version of love which is being played out on the stage, and it is precisely this queer, sadomasochistic, unproductive love, and the jouissance it procures, uncomfortably, for two disabled characters, which becomes the central theme of Beckett’s play. Further, the paper suggests that this motif of queer love doubles as a paradigm for an alternative form of literary collaboration, one which is not geared towards the actual production of a finished marketable product such as a book or a play, but rather towards the shared creation and immediate enjoyment of stories invented and performed in a space removed from, yet marginal to, the sphere of modern capitalistic exchange.