O VOO POÉTICO DE "AS AVES": UMA LEITURA CRÍTICA DA TRANSCRIAÇÃO DE "AS AVES", DE ARISTÓFANES POR PAUL MULDOON

This article aims to analyze the transcreation of Aristophanes’ play The Birds (414 a. C.) by the Irish poet Paul Muldoon. The methodology to achieve this objective relies on the work of Lorna Hardwick (2000) concerning the reception of the classics as well as on the concepts of domestication and foreignization by Lawrence Venutti (1997). According to Hellenistic scholars such as Gilbert Murray, The Birds dissonates from other plays in the work of Aristophanes because it does not portray the society directly. He considers it as a play of escape. Despite the desire to live among birds in nature, the main characters of the play bring to nature the Athenian way of living with them, which means they also bring politics and war. There is an inability to escape. Paul Muldoon revisits Aristophanes’ play and writes his version of The Birds (1999). Muldoon does not only translate the text of the play but transposes the play into the Northern Irish political context. The migratory birds from Athens now inhabit Belfast in the end of the conflict The Troubles (1968-1998). The poetic creation of Muldoon is a new play, alive and contemporary.Este artigo tem o objetivo de analisar a transcriação de Paul Muldoon a partir da peça As Aves (414 a. C.) de Aristófanes. Para tanto, são analisados conceitos caros à recepção dos clássicos, como versão, apropriação e transcriação, a partir dos estudos de Lorna Hardwick (2000) em consonância com concepções de domesticação e estrangeirização de Lawrence Venutti (1997). Segundo helenistas como Gilbert Murray (1950), esta peça destoa de outras na obra aristofânica por consistir em peça de escapismo. Embora as personagens principais decidam sair de Atenas para viver entre os pássaros, inevitavelmente carregam consigo os modos políticos de viver da cidade e, por consequência, sua desolação em relação ao contexto de guerra. Ao se dirigir à natureza, as personagens de Aristófanes demonstram uma inabilidade ao escapismo. Paul Muldoon se volta à obra de Aristófanes em sua peça The Birds (1999). O poeta irlandês não realiza uma tradução de linguagem apenas, mas transpõe esse espírito crítico diante da política de guerra ateniense para o contexto irlandês. As aves que migram de Atenas agora habitam Belfast no contexto dos termos finais do conflito civil armado irlandês: os Troubles (1968-1998). A criação poética de Muldoon se mostra como uma nova obra, vivaz e contemporânea This article aims to analyze the transcreation of Aristophanes’ play The Birds (414 a. C.) by the Irish poet Paul Muldoon. The methodology to achieve this objective relies on the work of Lorna Hardwick (2000) concerning the reception of the classics as well as on the concepts of domestication and foreignization by Lawrence Venutti (1997). According to Hellenistic scholars such as Gilbert Murray, The Birds dissonates from other plays in the work of Aristophanes because it does not portray the society directly. He considers it as a play of escape. Despite the desire to live among birds in nature, the main characters of the play bring to nature the Athenian way of living with them, which means they also bring politics and war. There is an inability to escape. Paul Muldoon revisits Aristophanes’ play and writes his version of The Birds (1999). Muldoon does not only translate the text of the play but transposes the play into the Northern Irish political context. The migratory birds from Athens now inhabit Belfast in the end of the conflict The Troubles (1968-1998). The poetic creation of Muldoon is a new play, alive and contemporary

Round Table: 30 years of ABEI and 10 years of WB Yeats Chair of Irish Studies

The round table commemorating the thirtieth anniversary of the BrazilianAssociation of Irish Studies (ABEI) and tenth year of the W.B. Yeats Chair of Irish Studies was part of the XIV ABEI and II AEIS Symposium of Irish Studies - “The State of the Art: Local and Global Contexts in Dialogue”, and was held on August 15, 2019. The session was comprised by Dr Munira H. Mutran, honorary president of ABEI and director of the W.B. Yeats Chair of Irish Studies; Dr Laura P.Z. de Izarra, coordinator of the W.B. Yeats Chair and advisory member of ABEI; Dr Rosalie R. Haddad, advisory member of ABEI and researcher in the W.B. Yeats Chair, Alessandra Cristina Rigonato, PhD candidate at the University ofSão Paulo, and Eduardo Kumamoto, graduate from the University of São Paulo and Master in Literary Translation at Trinity College Dublin. The discussion, which revolved around the history of the founding of both ABEI and the Chair, and their current developments, was conducted by Dr Mariana Bolfarine, head of ABEI and researcher at the W.B. Yeats Chair of Irish Studies

Humour in Times of Troubles: Comic representations of the Troubles in Northern Ireland Theatre

Episódios históricos trágicos podem evocar o riso? Caso a resposta para esta questão seja afirmativa, que tipo de humor esses episódios produziriam? A comédia pode auxiliar no alívio do sofrimento? Essas três perguntas norteam este trabalho de investigação e surgiram a partir da leitura de peças contemporâneas do teatro da Irlanda do Norte. As obras encenam o período de conflitos desde os anos 1980 até o processo de paz na atualidade. Dramaturgos como Abbie Spallen, Christina Reid, David Ireland, Marie Jones and Martin Lynch representaram os Troubles com diferentes formas de humor, como a sátira, o grotesco e a comédia. Esta tese tem o objetivo de compreender como essas obras que representam eventos traumáticos podem despertar o riso. Samuel Beckett, Sean O\' Casey, John M. Synge demosntram uma tradição rica na comédia irlandesas, principalmente no que concerne a humor negro. Minha hipótese consiste em pensar o humor como um dispositivo que permite distanciamento emocional do desespero, auxiliando a elaboração e liberação da tensão provocada por uma experiência atroz.May tragic episodes of History evoke laughter? If so, what kind of laughter would it be? Could comedy help to relieve sorrows? These three questions were raised by the reading contemporary plays that aim to represent the Troubles in Northern Ireland. The plays depicted the period of the conflict since the 1980s to its current peace process. Playwrights as Abbie Spallen, Christina Reid, David Ireland, Marie Jones and Martin Lynch have portrayed the Troubles in different forms of humor, such as satire, grotesque and comedy. This study aims, thus, to understand how plays that portray traumatic events can arouse laughter. Samuel Beckett, Sean O\' Casey, John M. Synge have shown a rich tradition in Irish comedy, mainly concerning to dark humor. My hypothesis is that humor allows a distance from the despair, and it helps to elaborate and release the tension provoked by a sorrowful experience

A Comic Portrayal of the Troubles in Contemporary Drama

This article aims to introduce a PhD research on the comic depiction of the Troubles (1968-1998) in Northern Irish drama. It will outline the issues of the diverse forms of the comic in the representation of the thirty-yearconflict. Amid the different tones for portraying the subject, the comic acquires a combination of satirical, ironic and black humoured tonalities in the work of Marie Jones, Martin Lynch, Tim Loane, Abbie Spallen and David Ireland

The presence of Aristophanes The Birds in english literature

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo.The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text