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BITRA. BIBLIOGRAFÍA DE INTERPRETACIÓN Y TRADUCCIÓN

 
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Tema:   Autor. Jacques Derrida. Obra. 'La Verité en peinture.' Ensayo. Género. Teoría.
Autor:   Santos, Olivia A. Niemeyer dos
Año:   2010
Título:   A experiência do limite: a tradução de La Vérité en peinture [The experience of limits: the translation of La Verité en peinture]
Lugar:   Campinas (São Paulo)
http://repositorio.unicamp.br/handle/REPOSIP/269836
Editorial/Revista:   Universidade de Campinas (Unicamp)
Páginas:   147
Idioma:   Portugués
Tipo:   Tesis.
Disponibilidad:   Acceso abierto
Resumen:   My thesis takes into consideration the experience of translating La vérité en peinture (Jacques Derrida, 1978) in its various aspects, and in the singularity of this translation process recognises some of the questions and presuppositions which pervade Western thought: the outside/inside oppositions; the possibility/impossibility of an encounter with the fellow man; the myths of origin and restitution as appropriation. The biological metaphor of autoimmunity used by Jacques Derrida in his last texts (and blended by him, with religion, science and democracy) is the starting point for this reflection: our body has an immunologic system that is prevented from destruction by something from "outside" - something alien or foreign such as, for example, a virus or a bacterium - which may get "inside" the limits of the body. Nevertheless, on some occasions, another system - an autoimmunologic one - is activated, and it attacks or weakens this very immunologic system, allowing the "outside" to invade the limits of the "inside". Not always, or not only, though, is this invasion a threat, a danger. This is also what allows, for example, the acceptance of a grafting or an organ taken from another person. It allows something from the "outside" to save the patient. Therefore, it enables a survival - survival of the body - and, by using the concept of autoimmunity in a wider sense, survival of democracy, of science (a change in the paradigm) or of the original text (the commentary, the interpretation, the translation). I try to link the four chapters of A verdade em pintura with the four chapters of my thesis: in the first chapter, the aim is to recognise the complex relation between the original and the translation from the logical perspective of the parergon, considering that translation always deals with what is inside the frontiers of the original; in the second chapter, I reflect on the borderline, on the experience of that which remains irreducibly idiomatic, but even so should surrender to a translation decision; in the third chapter, my goal is to assess the place of the original as a paradigm, suspecting the possibility of an absolute origin or primary model; in the fourth and last chapter, I examine the original/translation dyad and the translator's wish to restitute the "truth of the original", bearing in mind Derrida's statement that "every restitution is an appropriation". [Source: Author]
Agradecimientos:   Record supplied by Katia Aily Franco de Camargo – (Universidade Federal do Rio Grande do Norte – UFRN).
 
 
2001-2021 Universidad de Alicante DOI: 10.14198/bitra
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