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Master's Dissertation
DOI
10.11606/D.8.2011.tde-31052011-161733
Document
Author
Full name
Polyana de Almeida Ramos
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Cavaliere, Arlete Orlando (President)
Bonfitto Junior, Matteo
Vassina, Elena Nikolaevna
Title in Portuguese
Gorie ot uma, de Aleksandr Gribóiedov tradução e aproximações
Keywords in Portuguese
A inteligência que desgraça!
Aleksandr Griboiédov
Neoclassicismo
Teatro Russo
Teatro Russo do século XVIII
Teatro Russo no início do século XIX
Abstract in Portuguese
O presente trabalho é composto pela apresentação de A inteligência, que desgraça! (1825), do dramaturgo russo Aleksandr Serguéievitch Griboiédov, do universo em que foi escrita, bem como a tradução da obra-prima ao português. Essa primeira tradução carrega os dilemas inerentes à grandiosidade da linguagem e, sendo assim, o primeiro passo, na tradução da obra ao português, segue o caminho do significado para que, no futuro, o significante, complexo e rico, possa ser focado. Depois, tomamos o caminho do Teatro Russo do século XVIII e início do século XIX, seu universo neoclássico, e, ao final, as transfigurações de A inteligência, que desgraça! aos modelos clássicos, essencialmente os conflitos provenientes das ações que trabalham, nas duas tramas principais, de maneira igual.
Title in English
Gorie ot uma, de Aleksandr Griboiédov translation and approximations
Keywords in English
Aleksandr Griboedov
Gore ot uma
Neoclassicism
Russian theater
Russian theater in eighteenth-century
Russian theater in the beginning of nineteenth-century
Abstract in English
This present research is composed of a presentation of Gore ot uma (1825), by Russian playwright Aleksandr Griboedov, and of the universe in which it was written, as well as a first step in attempt of translating the masterpiece into Portuguese. This first translation embodies the dilemmas inherent to the greatness of the language and, therefore, the first step, for a translation of the masterpiece into Portuguese, follows the path of the signified, in order that, in the future, the signifier, rich and complex, may be focused. Afterwards, we take the path of Russian Theater from the Eighteenth century to the beginning of Nineteenth century, its neoclassical universe, and, in the end, in Gorie ot umas transfigurations to the classical patterns, essentially the conflicts originated by actions that work, in the two main plots, in a equal manner.
 
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Publishing Date
2011-05-31
 
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