Interview with a Dubliners translator: Benoît Tadié

This interview with Benoît Tadié, one of the French translators of James Joyce’s Dubliners (1914), took place via e-mail. It is embedded in a richexchange of messages that began in 2011 and continues to the present day. The original aim of the interviewer was only to acquire information for his doctoral work on retranslations of Dubliners, finished in 2013. However, it became clear that Tadié’s answers deserved to be published.Keywords: Benoît Tadié; James Joyce; Dubliners; Gens de Dublin; Translation; Retranslation

The Paratexts of the Brazilian Translations of A Portrait of the Artist as a Young Man

This article aims to discuss the paratexts found in the first edition (fi rst printing only) of each of the fi ve translations of A portrait of the Artist asa Young Man (1916), by James Joyce (1882-1941), in Brazilian  Portuguese. From cover to back cover, including prefaces, illustrations, and other paratexts, the fi ve translations (1945, 1992, 2013, 2014, and 2016) differ considerably. The rationale of this paper lies in the fact that the reception of an author in a target culture does not depend only on how his or her text is translated but also on the paratexts that “envelop” it. So A Portrait is not read in Brazil through the translations of its text only, since the ways in which the original paratexts (title and epigraph) and the added ones (notes, for example) are translated signifi cantly affect the reading experience.Keywords: Paratexts; titles; Joyce; translation; Portuguese language

Dubliners in Brazilian and European Portuguese: The Question of Title Translation in “The Dead”

Dubliners (1914), by James Joyce, has had four full translations intoPortuguese: two in Brazil and two in Portugal. Translations of individual short stories have also been published in collections and magazines. The aim of this article is to discuss the translation of the title of the last and longest short story in Dubliners – “The Dead” – into Brazilian and European Portuguese. The form of the title in English allows a double understanding, that is, as referring to one dead person or to dead people. However, this ambiguity, able to influence the reading of the short story as a whole, is not present in the Portuguese language translations of the title

The First Chapter of Gabriel Conroy, by Bret Harte

Os leitores de Joyce conhecem Gabriel Conroy do último, mais longo e mais famoso conto de Dublinenses, “Os mortos”. Mas a maioria desses leitores estranhará se lhes perguntarem se leram um romance chamado Gabriel Conroy. A verdade é que antes da personagem de “Os mortos” o escritor Bret Harte já havia criado o capitão Gabriel Conroy para seu romance homônimo de 1876. Ao escolher esse nome para o protagonista de seu conto, Joyce estabeleceu um diálogo, ainda que possivelmente superficial, entre a sua obra e a de Harte.Readers of Joyce know the character Gabriel Conroy from Dubliners’ final, longest, and most famous short story, “The Dead”. But the question whether they have read a novel called Gabriel Conroy will certainly make most of those readers frown. Yet before the protagonist of “The Dead” was created by Joyce, another character in literature had been called by this name, Captain Gabriel Conroy, from Bret Harte’s 1876 homonymous novel. By choosing that name for the protagonist of his short story, Joyce established a dialogue, although a possibly superficial one, between his work and that of Harte

Finnegans Wake is Now 80: Can we Finally Read it?

Finnegans Wake (1939) de James Joyce cumplió 80 años el 4 de mayo de 2019. Desde que los fragmentos del libro se publicaron en revistas bajo el nombre Work in Progress, una pregunta sigue intrigando a los lectores: ¿cómo leerlo? Este artículo discute respuestas dadas por Samuel Beckett, Fritz Senn y el propio Joyce, y argumenta sobre lo injusto que es el rótulo de ilegible a una obra tan abierta y desafiante que ofrece, en realidad, varias posibilidades de lectura. El rol de las traducciones en la lectura de Finnegans Wake también será considerado en este artículo

O CORPO DA POESIA

 The present text consists of the review of the The Body of Poetry. Essays on Momen, Form, and the Poetic Self, by the American poet, essayist and translator Annie Finch. The author covers a broad range of subjects without losing sight of the aim of discussing the "body of poetry", and it is on poetry that the all topics (women, form, criticism, translation, etc.) converge. The book bears a message of tolerance and collaboration in the literary field. Moreover, it emphasizes the necessity of reviewing old-established thoughts. O presente texto consiste na resenha de The Body of Poetry. Essays on Momen, Form, and the Poetic Self (O corpo da poesia. Ensaios sobre mulheres, forma e o "eu" poético), da poeta, ensaísta e tradutora norte-americana Annie Finch. A autora cobre variados assuntos sem perder de vista o objetivo de discutir o "corpo da poesia", elemento para o qual todos os tópicos (mulheres, forma, crítica, tradução, etc.) convergem. O livro traz uma mensagem de tolerância e colaboração no campo literário, além de enfatizar a necessidade de que pensamentos há muito estabelecidos sejam revistos

Introduction

Introdução à edição especial do ABEI Journal.Introduction to the ABEI Journal Special Issue on James Joyce

Ulysses at 100

The year 2022 marked the 100th anniversary of the publication of Ulysses. The following reflections express different sentiments and thoughts about the novel that gave T. S. Eliot “all the surprise, delight, and terror that I can require.

Poesia contemporânea nos Estados Unidos: comentários introdutórios sobre o New Formalis e um poema de Annie Finch

O tema desta comunicação é o New Formalism (Novo Formalismo) na poesia norteamericana,movimento formado por poetas que propõem, entre outras coisas, repensar os padrões métricos da poesia em língua inglesa, testando suas possibilidades de maneira percuciente e questionando a supremacia do verso livre