A tradução de contos populares clássicos com escopos definidos : um passeio pelas versões impressas de Cinderela Surda (2003), Rapunzel Surda (2003) e Patinho Surdo (2005)

• Ano de defesa: 2016
• Autor(a) principal: Santos, Carla Cristina Gaia dos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• dARK ID: ark:/35916/0013000005sw8
• Idioma: por
• Instituição de defesa: Universidade Estadual de Maringá; Brasil; Programa de Pós-Graduação em Letras; UEM; Maringá, PR; Centro de Ciências Humanas, Letras e Artes
• Palavras-chave em Português: Língua brasileira de sinais; Literatura infantojuvenil; Recriação; Crianças surdas; Tradução literária; Literatura surda impressa; Brasil.; Literary tanslation; Translation as recreation; Printed deaf literature; Deaf Cinderella; Deaf Rapunzel; Deaf Duck; Brazil.; Linguística, Letras e Artes; Letras
• Link de acesso: http://repositorio.uem.br:8080/jspui/handle/1/4062

Popular classic tales are both part of the universal and the local canon of each community, since they are elements of highest importance within the cultural capital of the most varied groups. Every new translation results in a new text and in a different way of understanding it. Narratives come and go throughout different cultures and it is possible to see even the ones coming from the Deaf Brazilian Communities. Cinderella, Rapunzel, and The Duck - which is not ugly anymore - are now recreated according to a Deaf Culture. These new texts are based on a visual experience and incorporate elements of a Deaf identity not only in the fable reconstitution, but also in the way the narratives are organized. The scope of these publications is to register the classic tales according to Deaf identities as well as to corroborate with the establishment of a Deaf Literature. Therefore, the surroundings of interactional forces and pressures play important roles in this scenery and cannot be ignored. Taking translated literature as both means of symbolic expression and outgrowth of identities able to construct social meanings, it is possible to realize its performance as an important tool in the process of a metaphoric decolonization of active Deaf identities fighting for representation after such a long time of hearing repression. Deaf Cinderella (HESSEL; KARNOPP; ROSA, 2003), Deaf Rapunzel (KARNOPP; ROSA; SILVEIRA, 2003) and Deaf Duck (KARNOPP; ROSA, 2005) take part in this context contributing to the assertion of linguistic and cultural Deaf identity throughout these printed versions. In this sense, the recreations of narratives from past oral traditions acquire a dimension of literary resistance while questioning imposed standards. Also, the illustrations take important roles in the way these narratives are organized and contribute directly with the construction of meaning. Thus, departing from a conception of translation as recreation for defined scopes, this research aims at analyzing the classic popular tales retold according to Deaf Culture in the printed versions of Deaf Cinderella (HESSEL; KARNOPP; ROSA, 2003), Deaf Rapunzel (KARNOPP; ROSA; SILVEIRA, 2003) and Deaf Duck (KARNOPP; ROSA, 2005). Studies of Hauser (1977), Lefevere (1992), Amorim (2005), Reiß and Vermeer (2013), Vermeer (1987; 1992), Hutcheon (2013) and Nord (1997) were of great importance, as well as we looked for references in Deaf Studies scholars like Skliar (1997; 2005), Goldfeld (1997), from language acquisition and education of the deaf, and Sacks (2010), from studies about the deaf. Scholars from post-colonial literatures, like Pratt (1999) and Bonnici (2000), were also fundamental in order to comprehend this moment of social-educative emancipation and empowerment of Deaf identities.